PRICE  TWENTY-FIVE  CENTS 


THE    STEEL    KING 


A    COMEDY-DRAMA    IN    FOUR    ACTS 


HORACE   C.  ,DALE 


FROM 


WALTER  H.BAKER&CO. 


5  HAMILTON  PLACE- BOSTON-MASS.! 


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X<S 


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Dramas  and  Comedies 

(15    CENTS    EACH.) 

M.  F. 

..      !  01,  The  Witch's  Secret.      Strong  and  realistic    drama;  4 
acts ;  2%  hours 8    4 

Crawford's    "Claim  "("Nugget  Nell").     4    acts;    good,    rattling 

Western  drama  ;  -2%  hours g    3 

Tried  and  True.     Drama  of  city  life  ;  3  acts  ;  2%  hours 8    3 

"  Strife  !  "  ("  Master  and  Men  ").     The  great  Labor  drama  ;  3  acts  ; 

2%  hours 9    4 

Under   a  Cloud.     Bright  and   pleasing  comedy-drama;   2   acts:    \Yz 

hours 5     2 

Saved  From  the  Wreck.     Drama  •  serio-comic  ;  3  acts  ;  2  hours 8    3 

Between  Two  Fires.     Drama ;  military  plot ;  3  acts  ;  2  hours 8    3 

By  Force  Of  Impulse,    ("  Off  to  the  War  ").     Comic  and  emotional ;  5 

acts ;  2%  hours 9    3 

The  Woven  Web.     Drama;  strong  and  sparkling ;  4  acts  ;  2%  hours...     73^ 
Uncle   fom|S  Cabin.     An  old  favorite,   re-written  so  that  it  can   be  A 

played  in  any  hall ;  5  acts  ;  2^  hours 7    5     ' 

My  Awful  Dad.    A  side-splitting  comedy  ;  3  acts  ,  2  hours 6    6 

*' Engaged."  Society  comedy;  full  of  burlesque  fun;  3  acts;  2%  hours..     5    5 
The  Wanderer's  Return  ("Enoch    Arden").     Drama,  with  a  strong 

plot  and  effective  characters  ;  4  acts  ;  2%  hours 6    4 

The  Cr»oket  on  the  Hearth.    Dickens'  story  dramatized;  3  acts;  2  hours.     6    6 
*'  Single"  Life.     Uproariously   funny  comedy;   bachelors  and  spin- 
sters ;  5  acts  ;  2  hours $    5 

Married    Life.      A    companion     piece,    equally    comic;    5     married 

couples  ;  3  acts  ;  2  hours 5    5 

"Our  Boys."    Comedy;  always  succeeds;  3  acts ;  2  hours 6    4 

Miriam's  Crime.     Excellent  serio-comic  drama,  with  mirth  as  well  as 

pathos  ;  3  acts  ;  2  hours 5    2 

Meg's  Diversion.     Drama;   pathetic,  humorous  and    picturesque;   2  (  > 

acts  ;  1%  hours 5    3        , 

A  Scrap  of  Paper.     Comedy  ;  full  of  healthy  fun  ;  3  acts  ;  2  hours....     6    6     < 
Woodcock's  Little  Game.     Farce-comedy;    extravagantly   tunny;    2 

acts  ;  i  hour 4    4 

Lady  Audley's  Secret.     Emotional  drama  from  Miss  Braddoti's  novel; 

2  acts,  i%  hours 4    3 

Not  So  Bad  After  All  ("  Is  Marriage  a  Failure  ?  ").     Comedy  ;  3  acts  ; 

2  hours  6    5     * 

Timothy  Delano's  Courtship.     Yankee  Comedy ;?  acts  ;  i  hour 23^ 

Sweethearts.    A  beautiful  comedy  combining  fun  and  pathos  ;  2  acts ;  ^ 

i  hour c 2    2     f 

Uncle  Jack.    Drama;  comic,  with  a  good  moral ;  i  act;  i%  hours....     |    4     f) 
Rebecca  and  Rowena.     Burlesque    comedy  dramatized    from    Scott's 

"  Ivanhoe  "  ;  5  acts  ;  i  hour «,.     3    3     ^ 

Home.     Comedy  ;  fresh  dialogue  and  genuine  humor  combined  with  a  A 

very  strong  plot ;  3  acts  ;  2  hours 4    3 

Caste.     Comedy  that  always  delights  the  public  ;  3  acts  ;  2%  hours.. .     53^ 
The  Triple  Wedding.    Short,  excellent   drama   of  home  life;  3  acts;  A 

All  that  Glitters*  is*Not  Gold '("  The  ' Factory  Girl  '*').' '  "Comic"  Drama 

of  great  force ;  2  acts 6    3 

Not  Such  a  Fool  as  He  Looks.    Comedy;    alternate    sentiment    and 

roaring  fun ;  sacts ;   2%  hours ..    5    4 

Solon  Shingle  (u  The  People's  Lawyer ").    Yankee  Comedy;  2  acts;  ,  ( 

labours , 7    ?     ' 

Out  in  the  Streets.     Drama;    always    received   with    enthusiasm;  5  (  ' 

acts  :  i  hour 64      .  | 

Broken  Promises.     5  acts;  a  strong  temperance  play  of  unflagging  in- 

terest,  relieved  with  much  eccentric  humor;  i%  hours. ...... ^. ...     63     (  ' 

Ten  Nights  in  a  Barroom.    5  acts;  plays  2  hours;  new  and  simplified  .  ( 

version  of  an  old   favorite  that  will  draw  hundreds  where  other 

plays  draw  dozens 7    4     (  ' 

DICK  &   FITZGERALD,  Publishers,  18  Ann  St 


T' 


.,  N.  Y.  £ 
vw-%* 


The  Steel  King 

AN  ORIGINAL  FOUR-ACT 
COMEDY  DRAMA 

BY  HORACE  C.  DALE 


Author  of   ^Strife"    "  I  mo-gene"    4i  The    Deacon"   "Breaking  His 

Bonds"  ^  Josiah^s  Courtship"  **  The  Deacon's  Tribulations" 

11  A  White  Lie^   "  The  Gypsy  Queen^  etc. 


Copyright,  1902,  by  Horace  C.  Dale 


NEW      YORK 

Dick   £&f   Fitzgerald 

I  8      ANN      STREET 


The  Steel  King. 


NOTE. — The  acting  rights  of  this  play  are  expressly  reserved  by  the  author. 
Theatrical  managers  wishing  to  produce  it  should  apply  to  the  author,  in  care  cf 
the  publisher.  Amateur  representation  may  be  made  without  such  application, 
and  without  charge. 

CHARACTERS. 

HENRY  REBER,       .        .        .  the  "Steel  King." 

GEORGE  GREEN,      .        .        .  lawyer  and  lover. 

CHAS.  HENRY,         ...  a  mechanic. 

BILL  ANTHONY,       ...  a  staunch  Union  man. 

ANDY  CROW,  .        .        ,  black,  inside  and  out. 

MAUD  SEFTON,        .        .        .  with  a  purpose  in  life. 

MOTHER  GRUNDY,  .        .        .  chemist  and  clairvoyant. 

DIMPLE  DARLING,  .        .        .  nobody's  fool. 

NELLIE  ANTHONY,  .        .        .  Bill's  daughter. 

IST  POLICEMAN 

20  POLICEMAN 

SINGERS,  SOLDIERS  and  MOB,  by  the  company. 

Time,  the  present  ;  locality,  Rome,  Ga. 
Time  of  representation,  two  hours  and  a  quarter. 

SYNOPSIS  OF  INCIDENTS. 

ACT  I. — SCENE  i.  The  mechanic's  home.  A  startling  bit  of  heart 
interest.  Hints  of  a  storm  brewing.  The  dynamite  bomb.  Ven- 
geance threatened.  A  test  of  will  power.  "  Thank  God,  I've 
triumphed  again ! " 

SCENE  2.  A  street.  A  labor  champion  and  a  black  knight 
exchange  compliments.  Labor  presents  her  grievances,  suggests 
a  remedy,  wins  a  convert. 

SCENE  3.  The  Steel  King's  home.  An  appeal.  A  determined 
man.  Explanation.  "  So  down  town  I  go,  if  that  means  to  my 
death."  "  Then,  sir,  you'll  have  to  use  force  in  leaving  this  room." 

ACT  II. — SCENE  i.  Same  as  Scene  I,  Act  I.  A  vision.  A 
startled  visitor.  Hatred  expressed,  vengeance  implored.  Clouded 
faculties.  Mischief  brewing.  Assistance  sought  and  promised. 
Another  mental  tilt  between  mother  and  son. 

SCENE  2.  A  street.  Andy  angers  Dimple.  Lively  skirmish- 
ing. The  black  knight  bends  the  knee  to  the  conqueror.  Henry 
is  assaulted. 

M5CJ785' 


4  The  Steel  King. 

SCENE  3.  Exterior  of  Reber's  residence.  The  two  spies. 
The  black  knight  scores  a  point  against  Dimple.  Mutterings  of  an 
Approaching  storm.  Consternation.  The  mob's  attack.  The 
mechanic  to  the  rescue.  The  troops  arrive.  A  heroic  sacrifice. 
"  If  you  must  shoot,  direct  your  men  to  send  their  volley  into 
me." 

ACT  III. — SCENE  i.  Same  as  Scene  3,  Act  I.  A  sadly  distressed 
man.  A  noble  proposition.  An  interruption.  A  mental  fencing 
match.  An  appeal  for  mercy.  Irritating  insinuations.  "  What 
wrong  have  I  done  you  ?  "  An  amateur  photographer.  An  in- 
teresting scene.  The  snap  shot.  The  black  knight  in  a  calculating 
mood.  Throws  down  the  gauntlet  to  Dimple.  Hot  shot  thrown 
into  his  camp  by  Reber.  Anthony  appears.  Explanations  de- 
manded. An  object  lesson.  An  attempted  bribe.  "  I'll  never 
prove  a  traitor  to  my  fellow-workmen."  A  startling  intruder. 
"  Then  you  die."  '*  Your  arm  is  paralyzed." 

ACT  IV. — SCENE  i.  Corridor  in  Reber's  house.  Awaiting  de- 
velopments. Andy  arrives  with  coveted  news.  Re-enforcements 
hurry  to  Henry's  relie.f.  Andy  arouses  Dimple's  ire.  Proposes 
a  divvy. 

SCENE  2.  Same  as  Scene  i,  Act  I.  The  attack.  Overpowered. 
Bill  reverses  scene.  An  infuriated  woman.  Minions  of  the  law 
beat  a  hasty  retreat.  Threatened  vengeance.  A  terrible  arraign- 
ment. Startling  revelations.  A  conscience-stricken  victim.  Res- 
titution promised.  Forgiveness  implored. 

COSTUME  PLOT. 

REBER.  ACT  I. — Black  Prince  Albert  coat,  vest  and  trousers. 
Dark  tie.  Patent  leather  shoes,  silk  hat,  gloves,  ACT  II. — Suit 
to  imitate  above,  minus  hat,  coat  and  vest  badly  torn.  ACT  III. 
— Handsome  house  coat,  light  trousers.  ACT  IV. — Light  trousers, 
black  Prince  Albert  coat,  silk  hat.  Fine  silver-grey  side-whiskers 
and  moustache,  silver-grey  wig  with  part. 

GREEN.  ACT  I. — Black  Prince  Albert  coat,  light  trousers  and 
tie,  patent  leather  shoes.  ACT  II,  First  entrance,  Regulation 
army  uniform  and  cap.  Second  entrance,  same  with  sword  buckled 
on.  ACT  III. — Light  business  suit.  ACT  IV. — first  entrance, 
same  as  Act  III  with  hat  and  gloves  in  hand.  Second  entrance, 
same  as  first  entrance.  Fine  light  wig  with  part,  light  moustache. 

HENRY.  ACT  I. — Neat  house  coat,  light  vest  and  trousers, 
Percale  shirt  and  collar,  light  tie,  Congress  shoes.  ACT  II.— first 
entrance,  same  as  Act  I.  Second  entrance,  neat  dark  sack  coat, 
black  Derby  hat.  Third  entrance,  same.  ACT  III. — Same  as 
third  entrance,  Act  II,  minus  hat.  ACT  IV. — Same  as  Act  III, 
hat  on  in  entering  house,  fine  black  curly  wig  with  part,  black 
moustache. 

ANTHONY.     ACT  I.— Seedy  brown  trousers,  loose  fitting,  well- 


The  Steel  King.  5 

worn  dark  coat,  gray  flannel  shirt  with  dark  four-in-hand  tie, 
dilapidated  shoes  run  down  at  heels,  light  slouch  hat.  ACT  II. — 
First  entrance,  same  as  Act  I.  Second  entrance,  hat  and  coat  off. 
ACT  III. — Same  as  Act  I,  minus  hat.  ACT  IV. — Same  as  Act  I. 
Hat  knocked  off  in  tussle  with  officers.  Rough,  short-cropped 
brown  wig,  stubby  beard  and  moustache  of  a  few  weeks'  growth. 
Features  made  up  to  show  the  effect  of  strong  drink. 

CROW.  Acts  I,  II,  III,  and  IV. — Light  checked  trousers,  negli- 
gee shirt,  gaudy  tie,  linen  sack  coat,  light  slouch  hat.  Hat  off  in 
house  scenes.  Darky  wig. 

MAUD. — ACT  I. — Handsome  house  dress  of  light  material. 
ACT  II, — First  entrance,  fine  summer  outdoor  dress  with  hat  and 
gloves  to  match.  Second  entrance,  same  without  hat  and  gloves. 
ACT  III. — Pretty  morning  house  dress  of  light  material.  ACT 
IV. — Tailor-made  suit  with  hat  and  gloves.  Fine  modern  chest- 
nut wig. 

MOTHER  GRUNDY.  ACTS  I,  II,  III,  and  IV. — Dark  dress,  dark 
hood  and  shawl—  on  in  Act  III,  to  be  thrown  off  in  Act  IV.  Grey 
mixed  wig. 

DIMPLE.  ACT  II. — Light  summer  street  dress,  pretty  light 
hat.  ACT  III. — Pretty  house  dress.  ACT  IV. — First  entrance, 
same  as  Act  III.  Second  entrance,  hat  on.  Fine  modern  black 
curly  wig. 

NELLIE.     Faded  calico  dress,  old  shoes,  blond  curly  wig, 

POLICEMEN.     Blue  sack  suits.      Helmets.  Stars. 

SOLDIERS.     Regulation  uniform. 

MOB.  Grey,  red,  and  blue  flannel  shirts.  Some  men  with  and 
without  coats.  Hats  and  trousers  of  various  cuts,  shapes,  and 
colors,  in  general  appearance  rough  and  repulsive. 

PROPERTY    PLOT. 

ACT  I. — SCENE  i.  Setting  as  per  description.  SCENE  3.  Set- 
ting to  be  as  fine  and  elaborate  as  house  can  afford.  Table  and 
chairs  down  L.  C.,  screen  up  L.  Silk  hat  for  REBER. 

ACT  II. — SCENE  i.  Setting  as  per  Scene  i,  Act  I,  minus  dyna- 
mite balls.  Broad-brimmed  light  hat,  black  beard  and  moustache, 
long  light  coat,  sword  and  belt  for  MOTHER  GRUNDY.  SCENE  3. 
Large  armchair,  palm-leaf  fan.  Hat  for  GREEN.  Tattered  coat 
for  REBER,  same  style  and  color  as  worn  in  Act  I.  Clubs,  ham- 
mers, pitchforks,  axes,  ropes,  etc.,  for  MOB.  Revolver  loaded  with 
blank  cartridges  for  MAUD.  Rifles  with  fixed  bayonets  for  SOL- 
DIERS. Sword  and  belt  for  GREEN. 

ACT  III. — Setting  as  in  SCENE  3,  Act  I.  Small  camera  for 
ANDY.  Bell  for  use  off  L.  Black  ball  to  represent  dynamite  bomb 
for  MOTHER  GRUNDY. 

ACT  IV. — SCENE  i.  Hat  for  GREEN.  Gloves  for  MAUD.  Hat 
for  ANDY.  Photo  for  ANDY. 


6  The  Steel  King. 

SCENE    PLOT. 

ACT  I. — SCENE  i.  Cottage  interior  in  3  G.  backed  by  woods  in 
4  G.  Practical  door  R.  in  F.,  window  L.  Green  baize  down. 
Lights  low,  SCENE  2.  A  street  in  r.  G.  SCENE  3.  Fancy  inte- 
rior in  3  G.  Practical  door  C.  in  F.  backed  by  corridor  in  4  G.  or 
landscape  effect.  Medallion  carpet. 

ACT  II.— SCENE  i.  Same  as  Scene  i,  Act  I.  SCENE  2.  Street 
in  i  G.  SCENE  3.  Exterior,  set  as  per  description  if  possible, 
otherwise  set  house  across  L.  Green  baize  down.  Lights  low. 

ACT  III. — SCENE.     Same  as  Scene  3,  Act  I.     Lights  up. 

ACT  IV. — SCENE  i.  Corridor  in  i  g.  Lights  up.  SCENE  2. 
Same  as  Scene  i,  Act  I.  Lights  up.  Lamp  out. 

STAGE  DIRECTIONS. 

In  observing,  the  player  is  supposed  to  face  the  audience.  C. 
means  centre;  R.,  right;  L.,  left;  R.  C.,  right  of  centre;  L.  C., 
left  of  centre ;  C.  D.,  centre  door;  R.  D.,  right  door;  L.  D.,  left 
door ;  D.  R.  C.,  door  right  of  centre  ;  D.  L.  C.,  door  left  of  centre; 
D,  F.,  door  in  the  flat ;  C.  D.  F.,  centre  door  in  flat;  R.  D.  F., 
right  door  in  flat ;  L.  D.  F.,  left  door  in  flat ;  i  G.,  2  G.,  3  G.,  etc., 
first,  second  or  third  groove,  etc. ;  i  E.,£  E.,  3  E.,  etc.,  first,  second 
or  third  entrance,  etc.  ;  R.  U.  E.,  right  upper  entrance  ;  L.  U.  E., 
left  upper  entrance  ;  UP,  up  stage  or  toward  the  rear ;  DOWN, 
down  stage  or  towards  the  audience  ;  X.,  means  to  cross  the  stage  ; 
X.  R.,  cross  to  the  right ;  X.  L.,  cross  to  the  left. 

R.  R.  C.  C.  L.  C.  L. 


The  Steel  King. 


ACT   I. 

SCENE  I. — Cottage  in  3  G.,  backed  by  wood  in  4  G.  Practical  door  R. 
and  window  L.  in  flat.  Plain  table  C.  with  lamp  lighted;  small  brass 
apothecary  scales  ;  retort  arranged  with  filter  paper  and  liquid  dropping 
from  it  into  a  large  graduate  ;  several  different  sized  graduates  ;  4  quart 
bottles  partially  filled  with  different  colored  liquids  ;  a  number  of  smaller 
bottles,  some  filled  and  others  empty  ;  a  mortar  with  pestle  in  it ;  a  blow- 
pipe ;  open  well-thumbed  pharmacopeia  with  lead  pencil  and  sheet  of  fools- 
cap paper  covered  with  calculations  upon  it,  and  a  half-dozen  round  black 
balls  the  size  of  a  walnut  ttpon  it.  Pedestal  or  stand  up  L.  corner,  with 
semi-circular  tiers  of  shelving  resting  upon  it,  upon  which  are  a  number  of 
small  glass  jars  containing  air-slacked  lime,  flour,  sugar,  tea  leaves  and  dif- 
ferent colored  sands.  Lounge,  several  plain  chairs  around  room.  A  large 
arm  chair  with  leather  cushion  directly  back  of  table  C.  Green  baize 
down.  Lights  low.  Time,  twilight.  Curtain  rises  to  soft  music. 
MOTHER  GRUNDY  is  seated  in  arm  chair,  slightly  bending  over  open  book  ; 
with  pencil  in  hand  she  rapidly  scans  calculation  upon  sheet  of  paper. 

MOTHER  G.  (dropping  pencil  and  rubbing  hands  gleefully). 
There  !  I've  verified  that  calculation  for  the  hundredth  time  and 
can't  detect  a  flaw  in  it.  I'm  within  sight  of  my  goal,  and  soon 
there'll  be  revealed  to  me  the  secret  which  has  baffled  the  skill  of 
cunning  alchemists  for  ages.  I'll  turn  out  pure  gold  by  the  ton, 
banish  poverty  and  make  every  workingman,  woman  and  child  a 
millionaire.  (Rises,  laughing  hysterically^)  Ha — ha — ha —  I'll 
do  it !  I'll  do  it  !  (Calls.)  Charlie  ! 

Enter  CHARLES  HENRY  R.  2  E. 

HENRY  (cheerily).  What  is  it,  mother?  Are  things  coming 
your  way  ? 

MOTHER  G.  Yes,  my  boy,  they  are  indeed.  Soon  you'll  be  the 
richest  man  in  the  world. 

HENRY.     Then  you'll  be  the  happiest  woman. 

MOTHER  G.  Don't  be  too  sure  of  that.  How  about  the  other 
one  now  tugging  at  your  heart  strings  ? 

HENRY  (surprised).  What  do  you  mean,  mother  ?  What  do 
you  know  ?  Who  has  been  talking  to  you  about  me  ? 

MOTHER  G.     No  one — not  a  soul.     I've  noted  your  new  found 

love  in  your  eyes— seen  her  walking  by  your  side 

7 


8  The  Steel  King. 

HENRY.    Where  ?    When  ? 

MOTHER  G.  Here  in  this  house — whenever  you  are  around 
me.  I  feel  her  presence  now.  Ah,  I  see  her,  too !  She's  stand- 
ing by  your  side — a  vision  of  surpassing  loveliness !  Shall  I  de- 
scribe her? 

HENRY  (quickly}.  No,  no,  mother,  please  don't  You  make 
cold  chills  creep  over  me.  (Starts  to  cross  L.) 

MOTHER  G.  (tenderly).  Your  sweetheart  is  a  rich,  brave, 
beautiful  woman  and  loves  you  dearly.  In  a  vision  to-day,  I  saw 
her  save  your  life.  You  were  about  to  be  killed  by  a  set  of  infu- 
riated men,  suddenly  she  appeared  by  your  side.  Stepping  in 
front  of  you  with  flashing  eyes  and  a  regal  air  that  challenged  ad- 
miration she  denounced  your  would-be  slayers  as  a  set  of  arrant 
cowards,  and  declared  you  could  only  be  reached  over  her  man- 
gled form.  She  appeared  the  incarnation  of  purity  and  fearless- 
ness. The  grandeur  of  her  daring  act  of  devotion  cowed  your 
enemies  and  one  by  one  they  shrank  away  as  though  heartily 
ashamed  of  themselves.  What  did  that  scene  portend  1  (anxiously.} 
Have  you  done  anything  to  arouse  the  enmity  of  your  fellow- work- 
men ? 

HENRY.  Nothing,  mother,  but  to  strongly  advise  against  any 
act  of  lawlessness.  (At  table,  picks  up  a  black  ball.}  What  is 
this  ? 

MOTHER  G.  A  dynamite  bomb.  (HARRY  hastily  replaces  it 
upon  table,  steps  R.) 

HENRY     (searchingly}.     What  is  it  intended  for? 

MOTHER  G.  (evasively}.  Ask  no  questions  and  I'll  tell  no 
lies. 

HENRY.     Was  Bill  Anthony  here  to-day  ? 

MOTHER  G.     He  was  not. 

HENRY.     Any  of  his  friends  ? 

MOTHER  G.     No.     Why  do  you  ask? 

HENRY.  Because  there  is  trouble  brewing,  and  you  and  I  must 
steer  clear  of  it.  Bill  has  been  drinking  heavily  and  is  bent  upon 
some  devilish  mischief.  I  was  told  he  was  coming  here  to  consult 
you  as  to  the  best  plan  for  carrying  out  his  designs  for  revenge. 
I'd  like  you  to  persuade  him  not  to  violate  the  law,  or  jeopardize 
the  life  or  property  of  a  fellow-being.  You  can  do  it.  Will  you  ? 

MOTHER  G.     Is  he  aiming  at  Reber  ? 

HENRY,     Yes,  mother,  I'll  be  frank  with  you  ;  he  is. 

MOTHER  G.  (determinedly}.  Then  I'll  not  lift  my  little  finger 
to  save  his  property  or  even  his  life.  (Strongly).  He's  a  scoundrel  ! 
A  fiend  in  human  form  and  a  robber  of  widows  and  orphans.  His 
life  is  a  lie,  and  his  wealth  a  garment  his  master,  the  devil,  has 
wrapped  around  him — (laughs  wildly?).  Ha — ha— ha  !  I  help 
Reber  !  Never,  till  his  black  heart  changes  and  justice  be  done 
me  and  mine. 

HENRY  (warningly).     Mother ! 


The  Steel  King.  9 

MOTHER  G.  (un  heeding  ly).  Let  his  men  call,  I'll  advise  what 
to  do.  I'll — (hastily  jncks  ^lp  a  black  ball  from  table}. 

HENRY  (with  power).  Not  another  word,  mother.  Don't  you 
dare  give  utterance  to  such  a  diabolical  purpose.  Replace  that 
ball  this  instant.  (MOTHER  G.  obeys).  You  are  beside  yourself. 
Now  promise  to  do  what  I  asked. 

MOTHER  G.     (determinedly).     Never ! 

HENRY  (warningly).     Mother! 

MOTHER  G.  (strongly).  I  won't  do  it.  (Edges  down  L.  of 
table,  ditto  HENRY  down  L.) 

HENRY  (determinedly).     You  must, 

MOTHER  G.  (wildly).    I  won't,  I  tell  you  ! 

HENRY  (warning fy)^  Mother,  don't  compel  me  to  adopt  harsh 
measures  with  you. 

MOTHER  G.  (front  of  table).    I  won't— I  won't — 

HENRY  (front  of  table,  strongly).  You  shall  do  it.  You  force 
me  to  make  you  do  it.  (Seizes  MOTHER  G.  by  arm  and  compels 
her  to  face  him).  Look  me  in  the  eyes  !  You  shall  do  it !  I  com- 
mand you  to  do  it  !  (Looks  determinedly  into  MOTHER  G.'s  eyes 
amomenf).  Will  you  obey  me  ?  (MOTHER  G's.  head  drops  upon 
HENRY'S  bosom). 

MOTHER  G.  (sobbing).    I'll— do — it.     Yes,  I'll  do  it, 

HENRY  (with  ringing  emphasis).  Thank  God  I've  triumphed 
again. 

Quick  close  in  with  street  in  I.  G.  which  is 

SCENE  II. — whistling  heard  off  L.  I.  E. 

Enter  ANDY  L.  I.  E.  whistling  "  Dixie"  at  same  instant  enter 
BILL  ANTHONY  R.  I.  E.  They  pass  at  C. 

ANDY  (as  he  passes).  Hello,  Bill,  (crosses  R.  whistling.  BILL 
stops  and  looks  after  ANDY. 

BILL  (calling)  <  Say, young  fellow.  (ANDY stops.)  Come  here. 
(ANDY  returns  toC.) 

ANDY.     What's  up  ? 

BILL.     Say,  are  you  a  member  of  the  union? 

ANDY  (puzzled).  Member  obde  union?  (Brightens  up.)  Yo* 
jist  bet  I  is.  Ole  Uncle  Abe  Lincoln  made  me  dat  way  back  in  de 
sixties.  Say,  am  yo'r  block  in  good  runnin'  order  ?  (Laughs.) 

BILL,  I  didn't  mean  a  member  of  the  United  States,  you  sassy 
black  nigger,  but  of  a  labor  union. 

ANDY  (nettled).  Since  yo'  am  so  flip  wid  yo'r  tongue  I'll  jist  tell 
yo'  dat  it  am  none  ob  yo'r  biznis  wedder  I  is  or.  not,  ole  mongrel. 

BILL  (angrily).  What  do  you  mean  by  classing  me  with  the 
brute  creation  ?  Do  you  know  what  a  mongrel  means  ? 

ANDY.  Ob  course  I  does.  It's  de  opposite  ob  a  (pointing  to 
self)  thoroughbred,  a  sort  o'  cross,  betwixt  an'  between,  'neider 
one  thing  nor  de  oder.  Say,  did  you'  eber  see  my  piebald  pup  wid 
his  water-spaniel  ears,  rat-terrier  nose  an'  feet,  bull-dog  mouf, 
p'inter  tail  an'  Newfoundland  fur  ?  Well,  he's  a  mongrel. 


io  The  Steel  King* 

BILL  (menacing).  Do  you  mean  to  say  that  I  look  like  your  in- 
fernal pup  ? 

ANDY  (emphatically}.  No,  siree.  Yo'  am  not  in  de  same 
class  wid  my  pup.  Dar's  style  an  pride  about  him,  an'  he's 
'spectable.  Nuffin' ob  de  low-down  cut-throat 'bout  my  pup.  If 
he  looked  like  yo'  he'd  been  water-logged  in  a  coffee  sack  long  ago. 
(Chuckles) 

BILL   (starting  R.).     You  infernal  black  rascal,  I'll 

ANDY  (running  R.).  No  yo'  won't,  'taint  no  use  yo'r  tryin'. 
(BILL  stops,  ANDY  near  R.  I.  E.).  Say,  Bill,  if  yo'  don't  want  a 
feller  to  question  yo'r  color,  why  don't  yo'  stop  drinkin'  whiskey  or 
smear  on  a  coat  ob  whitewash  ?  As  yo'  is  yo'  am  neider  a  red  or 
a  white  man. 

BILL  (shaking  fisf).  If  ever  I  lay  my  hands  on  you  I'll  make 
you  pay  dearly  for  your  insults.  You  are  the  sassiest  nigger  in  this 
town. 

ANDY.  An'  yo'  am  de  biggest  rummy.  If  yo'  wus  to  die  now, 
ole  Nick  wouldn't  hab  much  fun  wid  yo',  fur  yo'  would  go  up  like 
a  tinder  box.  A  sizz  an'  a  flutter,  an' all  would  be  ober  'cept  de 
house-cleanin'  to  get  rid  ob  de  smell.  Why  don't  you  let  rum  alone 
an'  jine  Miss  Maud's  mission.  She'll  help  yo'  git  work  an'  make  a 
man  out  ob  yo'. 

BILL.  I've  no  use  for  help  in  her  line.  All  I  want  is  a  chance 
to  earn  a  living  by  my  trade.  If  your  hound  of  a  master  don't 
soon  open  his  factory  doors  and  give  us  back  our  old  jobs  he'll  be 
as  poor  as  some  of  the  rest  of  us. 

ANDY.  Let  me  gib  yo'  a  pinter,  Bill.  Yo'  will  never  move  de 
ole  man  by  threats. 

BILL.  Then  he  and  his  class  will  have  to  take  the  consequences. 
If  the  laboring  men  are  not  to  be  permitted  to  earn  a  living  when 
they  are  willing  to  work,  then  by  heaven,  the  wealthy  class  must  be 
stripped  of  their  riches  and  brought  down  to  our  level.  No  true- 
born  American  will  allow  a  class  of  lords  and  serfs  to  exist  in  this 
free  country. 

ANDY  (gleefully).  Now  yo'  are  a-talkin'.  Dat's  de  stuff  ! 
Gib  me  sum  more.  It's  good  fur  de  blood. 

BILL.  No  sensible  wage-earner  objects  to  another  man's  hav- 
ing more  of  this  world's  goods  than  he  possesses,  but  he  does  ob- 
ject to  its  power  being  used  as  a  means  for  grinding  down,  starv- 
ing and  sweating  out  great  drops  of  gold  from  his  fellowmen  to 
increase  his  wealth.  Every  man  who  puts  a  dollar  into  business 
has  a  right  to  expect  a  fair  rate  of  interest  for  the  money  he  risks, 
but  he  has  no  right  to  make  that  dollar  bring  him  in  ten  inside  of 
a  year  at  the  expense  of  men  he  employs  by  paying  them  starvation 
wages. 

ANDY.     Right  yo-  are  agin,  Bill. 

BILL.  There  ought  to  be  a  law  to  prevent  such  injustice.  It's 
the  curse  of  our  nation.  Capital  has  labor  by  the  throat  and  is 


The  Steel  King.  n 

strangling  the  goose  which  lays  the  golden  eggs.  It  regulates  the 
price  of  labor,  the  price  of  goods  labor  turns  out,  and  the  amount 
of  its  output.  It  controls  our  courts,  our  press,  and  buys  outright 
elections.  It  will  soon  begin  to  tax  the  poor  for  the  air  they  breathe 
and  the  religion  they  profess.  It's  time  to  call  a  halt  to  the  money 
power  with  its  trusts,  monopolies  and  combinations,  or  this  country 
will  cease  to  be  the  "  home  of  the  brave,  and  the  land  of  the  free." 

ANDY  (running  L.  and  extending  hand).  By  golly,  Bill,  but 
yo'  am  a  spouter.  Gib  me  yo'r  hand  —  (Is  about  to  shake  hands 
with  BILL,  then  quickly  backs  away  a  step).  Say,  yo',  yo'  didn't 
mean  what  yo'  said  'bout  lickin'  me,  did  yo'  ? 

BILL.     No,  we'll  let  that  pass. 

ANDY  (extending-  hand).  Den  shake,  ole  boy,  shake.  How 
do  yo'  'spect  to  bring  'bout  a  different  state  ob  affairs  ? 

BILL.  It  can  only  be  done  by  legislation.  By  the  laboring 
classes  combining,  going  to  the  polls,  and  electing  honest  men  to 
office  who  will  enact  laws  for  the  commonweal  of  all  and  grant 
special  privileges  to  none. 

ANDY.     Kin  men  be  found  dat  money  can't  buy  ? 

BILL.     They  can  easily  be  manufactured. 

ANDY     (puzzled).     How  ? 

BILL.  By  shooting  every  officeholder  who  proves  false  to  his 
pledges  and  to  the  men  who  placed  him  in  power. 

ANDY  (whistles).  Whew  !  Den  dis  coon  will  keep  out  ob 
politics. 

BILL.  Heroic  measures  are  necessary  to  stamp  out  the  plague 
of  official  corruption  if  our  government  is  to  return  to  one  "  of  the 
people,  by  the  people,  and  for  the  people." 

ANDY.  Right  yo'  am  dar,  an'  yo'  kin  put  me  down  to  jine  yo'r 
union,  an'  to  help  bring  dat  'bout,  (Orchestra  strikes  chord  of 
"  Rally  Round  the  Flag."  BILL  and  ANDY  with  a  chorus  of 
voices  off  R.  I.  E.  commence  singing), 

"  The  union  for  ever,  hurrah,  boys,  hurrah, 
Down  with  the  traitors  and  up  with  the  stars, 
Then  we'll  rally  round  the  flag,  boys,  we'll  rally  round  again, 
Shouting  the  battle  cry  of  freedom,'' 


(BILL  tf^ANDY  lock  arms,  start  R.  waving  hats,  and  at  con- 
clusion of  chorus  exeunt  R.  I.  E.  Choriis  repeated  off  with  re- 
ceding effect. 

Flats  are  drawn  off  disclosing 

SCENE  III,  —  Reception  room  in  REBER'S  house,  Stage  setting  to 
be  as  handsome  in  all  respects  as  means  will  allow.  REBER 
down  L.  C.  silk  hat  in  hand,  GREEN  R.  C.  toying  with  watch 
chain,  MAUD  C, 

GREEN.  Miss  Sefton  has  given  you  prudent  advice,  Mr.  Reber, 
and  I  think  it  would  be  wise  for  you  to  heed  it. 

MAUD     (advancing  and   laying    left  hand   upon    REBER'S 


12  The  Steel  King. 

shoulder)*     Please  do  what  I  ask.     Don't  go  down  town  to-night. 

REBER  (slightly  irritated}*  But  I  must,  Maud.  I  have  an 
important  appointment  to  meet. 

MAUD  (pleadingly).  It  surely  is  not  of  so  much  importance 
that  you  need  risk  life  or  limb  in  keeping  it.  The  streets  are  filled 
with  angry,  excited  men,  and  your  presence  will  increase  their 
frenzy.  Please  remain  at  home  and  ease  my  fears. 

REBER.  It  is  hard  for  me  to  refuse  you,  Maud,  but  my  appoint- 
ment must  be  kept.  I  think  you  are  needlessly  alarmed.  No  one 
will  dare  molest  me. 

MAUD,  When  the  passions  of  men  are  aroused,  nothing  is 
sacred.  I  feel  that  you  are  taking  your  life  in  your  hand  by  leav- 
ing home  to-night.  Will  nothing  move  you  from  your  purpose  ? 

REBER.  Nothing,  absolutely  nothing.  There  is  no  white  blood 
in  my  veins.  Why  should  I  fear  the  passions  of  my  locked-out 
men  ?  (MAUD^<?^  up  C.  appears  determined).  I've  only  adhered 
to  strict  business  principles.  My  plant  was  closed  because  my 
men  refused  to  work  upon  a  contract  I  accepted  from  Dunn  &  Co. 
whose  men  were  on  a  strike.  Business  had  been  dull  for  some 
time,  and  I  had  been  running  my  works  at  a  positive  loss  of  one 
thousand  dollars  a  month,  and  thought  seriously  of  closing  up  my 
shops  when  Dunn's  contract  was  offered  me,  I  knew  that  by  ac- 
cepting it  I  could  give  my  men  steady  employment  for  months  to 
come  and  thought  I  would  thus  be  helping  them  to  support  their 
unfortunate  brothers  out  of  work.  What  was  the  outcome.  My 
men  threw  down  their  tools  and  refused  to  do  the  work.  I  called 
them  together,  explained  the  situation  and  pointed  out  the  advan- 
tages that  would  accrue  to  them  and  their  fellow-men  on  a  strike  if 
they  continued  at  their  posts,  but  all  to  no  avail.  My  statements 
as  to  business  conditions  were  not  believed,  my  motives  in  accept- 
ing I^unn's  contract  were  called  in  question,  and  I  was  accused  of 
trying  to  turn  my  works  into  scab  shops.  Failing  to  get  my  men 
to  do  Dunn's  work,  and  not  wishing  to  bankrupt  myself,  I  ordered 
my  mills  to  be  closed.  That  is  a  statement  of  the  trouble  between 
my  men  and  myself  in  a  nutshell.  I  have  only  done  what  any 
other  sensible  man  in  my  employ  would  have  done  had  he  been  in 
my  position,  and  there  is  no  justice  in  the  abuse  which  has  been 
heaped  upon  me.  I've  done  nothing  to  merit  bodily  injury  at  the 
hands  of  my  men — (strongly)  so  down  town  I  go,  if  that  means  to 
my  death,  (Starts  up  C.  MAUD  quickly  goes  up  C.,  stands  in 
front  of  door,  voice,  form,  and  features  depicting  intense  deter- 
mination). 

•MAUD.  Then,  sir,  you'll  have  to  use  force  in  leaving  this  room, 
for  I'll  never  be  a  party  to  your  suicidal  resolve.  (Defiantly  ex- 
tends arms  across  door  to  bar  REBER'S  exit.  REBER  L.  C.,  GREEN 
R.  C.  silently  applauding. 

QUICK  DROP. 


ACT   II. 

SCENE  I.  Same  as  Scene  I,  Act  I.  Dynamite  balls  have  disap- 
peared from  table.  MOTHER  G,  seated  at  table  in  easy  chair 
in  clairvoyant  state.  Curtain  rises  to  weird,  plaintive  music. 
MOTHER  G.  (strained  voice}.  It's  not  clear  to  me  what  the 
scene  means.  (Slightly  leans  forward  as  though  trying  to  dis- 
cover something  in  the  distance.)  I  see  groups  of  men  standing 
upon  street  corners  gesticulating  wildly,  and  many  others  scurry- 
ing to  and  fro  in  a  great  state  of  excitement.  A  dense  cloud  of 
mist  hangs  between  us  through  which  I  cannot  penetrate.  Ah, 
what  do  I  see !  (Brightens  up.)  Charlie's  sweetheart  emerging 
from  the  cloud  riding  a  wind  horse.  She's  coming  this  way  bearing 
a  message,  and  is  excitedly  urging  her  steed  to  his  utmost  speed. 
He  carries  her  through  space  with  the  rapidity  of  a  meteor. 
(Rapidly.)  They've  left  the  town,  crossed  the  river,  turned  the 
brow  of  the  hill,  are  passing  our  house — (Excitedly,  half  rising) 
No,  see,  they  stop  !  (Raps  are  heard  upon  door  R.  in  Flat. 
MOTHER  G.  sinks  back  in  chair,  shudders,  passes  right  hand  over 
face.  Raps  are  repeated.) 

MOTHER  G,  (starting,  speaks  naturally).  What's  that  ? 
(Listens,  raps  are  repeated. )  Some  one  is  knocking.  Come  in, 
(Rises.) 

Enter  MAUD  door  in  Flat.    Appears  excited. 

MAUD   (quickly).     Good  evening.     Is  Mr.  Henry  in  ? 

MOTHER  G.     He  is. 

MAUD.     Can  I  see  him  ? 

MOTHER  G.   You  can.    Was  he  expecting  a  call  from  you  ? 

MAUD.     No,  my  presence  is  due  to  a  hastily  formed  resolve. 

MOTHER  G.  Well,  I  knew  you  were  coming,  saw  you  leave 
town,  cross  the  river,  turn  the  brow  of  the  hill  and  stop  at  our 
door.  Does  that  surprise  you  ?  stranger  things  than  that  have 
happened.  You've  been  here  before.  (MAUD  shakes  her  head, 
no.)  Yes,  you  have,  I  tell  you.  Not  in  your  corporeal  form,  per- 
haps, but  your  spiritual  essence  has  often  glided  over  this  floor. 
Not  an  hour  ago  it  stood  on  the  same  spot  you  now  occupy. 
Come,  place  your  hand  in  mine  and  let  me  tell  you  what  the  future 
holds  in  store  for  you. 

MAUD  (alarmed}.  Excuse  me, — but — I'd  rather— not.  (Quick- 
ly.) Will  you  please  call  Mr.  Henry.  My  business  with  him  is 
urgent. 


14  The  Steel  King. 

MOTHER  G.     What  is  the  excitement  down  town  about  ? 

MAUD.  The  labor  classes  are  rising.  A  riot  is  imminent.  I 
fear  arson  and  bloodshed. 

MOTHER  G.    Whose  property  is  threatened  ? 

MAUD.   Mr.  Reber's. 

MOTHER  G,  (excitedly).  Do  you  mean  Henry  Reber,  the  Steel 
King  ? 

MAUD.    I  do,  but  why  does  that  excite  you  ? 

MOTHER  G.  (with  force).  Then  I  hope  his  mills  and  his  palatial 
residence  will  be  levelled  to  the  earth,  his  mines  flooded,  and  he 
stripped  of  his  ill-gotten  wealth.  He's  an  unprincipled  robber. 
(Ironically.']  Oh,  no.  I'll  not  advise  his  men  to  burn  and  destroy, 
but — (with  intense  power)  I  hope  they  will  do  it.  (Abruptly. ) 
I'll  call  Mr.  Henry.  (Crosses  up  R.  gleefully  rubbing  hands.  MAUD, 
terrified,  retreats  a  few  steps  L.)  So  justice  is  about  to  be  done 
me.  Good !  ( When  near  R.  U.  E.) 

Enter  Henry  R.  U.  E. 

MOTHER  G.  (bowing  and  indicating  MAUD).  A  lady  to  see  you, 
(Exit  R.  2E.) 

Henry  (crosses  L.).  Miss  Sefton,  this  is  indeed  a  surprise.  May 
I  ask  what  brought  you  here  ? 

MAUD.  A  pressing  need  for  your  help.  (Anxiously.}  Our  worst 
fears  are  about  to  be  realized.  Mr.  Reber's  men  are  bent  upon 
mischief,  and  he  has  foolishly  gone  down  town.  Knowing  your 
influence  with  the  men  I  hurried  here  to  see  if  I  couldn't  prevail 
upon  you  to  follow  him,  and,  if  possible,  protect  him  from  bodily 
injury. 

HENRY  (quickly).  Certainly,  I  will.  I'll  get  my  hat  and  return 
with  you  instantly.  (Starts  R.,  is  arrested  by  MAUD'S  question.) 

MAUD.  One  moment,  please.  Who  was  that  woman  who  left 
us? 

HENRY.    My  mother. 

MAUD  (horrified).    Your  mother  ! 

HENRY.  Yes,  Miss  Sefton.  (Anxiously.)  What  did  she  say  to 
you  ?  (MAUD  appears  embarrassed^)  Never  mind  answering  that 
question.  I'm  sorry  she  impressed  you  so  unfavorably,  yet  I'm 
sure  you'll  make  allowances  for  her  when  I  tell  you — (brokenly) 
that  her — mind — is  unbalanced.  She  has  had  a  heavy  cross  to  bear 
the  last  eighteen  years,  and  her  reason  gave  way  under  the  strain. 
Now  you  understand  why  I  avoided  your  questions  in  regard  to 
my  domestic  affairs.  I  did  not  want  you  to  know  of  my  misery. 
Since  you  have  discovered  one  of  my  secrets,  I'll  make  an  explan- 
ation that  you  may  the  better  understand  some  other  matters. 

MAUD.  Tell  me  nothing  likely  to  give  you  pain.  I  did  not 
come  here  to  pry  into  your  family  secrets. 

HENRY.  That  I'm  sure  of,  yet  what  I  am  about  to  tell  you  will 
set  some  other  matters  straight  (speaks  rapidly).  Before  mother's 
mind  became  affected  she  had  two  hobbies — chemistry  and  clair- 


The  Steel  King*  15 

voyance — both  of  which  assumed  intense  form  after  her  great 
misfortunes.  Hoping  to  relieve  her  mind  by  employment  I  set  up 
this  humble  laboratory  and  encouraged  her  to  make  experiments 
in  her  favorite  study.  It  has  proved  a  source  of  great  relief  to  her. 
Her  other  hobby  led  her  to  take  up  fortune-telling.  While  its 
practice  fills  me  with  disgust  I  dare  not  forbid  her  indulging  in  it, 
for  it  does  much  to  divert  her  mind  from  the  sorrow  which 
impaired  her  reason.  She  is  not  generally  known  as  my  mother, 
for  it  is  one  of  her  whims  to  be  called  Mother  Grundy.  Have  I 
explained  enough  to  place  mother  in  a  better  light  ? 

MAUD.  You  certainly  have.  Was  she  ever  examined  with  a 
view  of  being  cured  of  her  trouble  ? 

HENRY.  Yes.  An  expert  has  assured  me  that  the  righting  of 
the  foul  wrong  done  her  would  restore  her  reason. 

MAUD.     Are  you  working  to  that  end  ? 

HENRY.     I'm  doing  the  best  I  can. 

MAUD.     Can't  I  help  you  in  any  way  ? 

HENRY.    Not  at  present,  thank  you. 

MOTHER  G.     (Off  R.  U.  E.)     Ha— ha— ha ! 

HENRY  (startled).     Hark  ! 

MOTHER  G.  (Off  R.  U.  E.).  I'll  lead  the  men  myself  and  set 
them  an  example.  Ha — ha — ha  ! 

HENRY  (alarmed).  Mother  is  concocting  some  scheme  which 
must  be  nipped  in  the  bud.  Are  you  afraid  to  return  home  alone  ? 

MAUD.     Certainly  not.     No  one  will  molest  me. 

HENRY  (speaking  earnestly  and  rapidly}.  Then  I  must  ask  you 
to  leave  me  at  once,  for  I  must  deal  with  mother  alone.  (Goes 
quickly  to  door  in  Flat  and  opens  it.  MAUD  follows  him)  You 
can  depend  upon  me  to  follow  as  speedily  as  possible  and  to  carry 
out  your  wishes.  (Bows  as  MAUD  quickly  exits.  Closes  door  and 
goes  down  back  of  table  C.)  How  shall  I  proceed  ? 

Re-enter  MOTHER  GRUNDY  R.  U.  E.,  head  slightly  bent  for- 
ward, eyes  cast  upon  floor.  Has  on  broad-brimmed  light  hat,  black 
beard  and  moustache,  long  light  coat  buttoned  up  to  chin  and 
sword  buckled  around  waist.  HENRY  pretends  to  be  examining 
book  upon  table,  but  casts  sidelong  glances  at  MOTHER  GRUNDY. 

MOTHER  G.  I'll  show  them  how  to  be  a  leader.  Ha — ha — ha  ! 
(Starts  for  door  in  Flat.) 

HENRY  (startlingly).  Mother,  where  are  you  going?  (MOTHER 
G.  starts,  quickly  snatches  off  hat,  beard  and  moustache  with 
right  hand  and  places  them  behind  her,  while  trying  wit-h  left 
hand  to  conceal  sword  with  skirts). 

MOTHER  G.  (sheepishly}.    Nowhere. 

HENRY.  Come  here.  (MOTHER  G.g-oes  down  C.  HENRY  meets 
her  at  back  of  easy  chair.)  Give  me  that  hat,  beard,  and  moustache. 
Now  take  off  that  sword  and  coat  and  let  me  have  them.  (MOTHER 
G.  obeys.  HENRY  lays  articles  on  floor,  coat  on  top.)  Did  you 
think  you  were  going  to  a  masquerade  ball  ? 


1 6  The  Steel  King* 

MOTHER  G.  (/'//  at  ease).  No,  I  was  going  to  attack  our  com- 
mon enemy. 

HENRY.  And  spoil  all  my  nicely  laid  plans,  eh  ?  Have  you 
lost  faith  in  your  son  ? 

MOTHER  G.  He  moves  too  slowly.  It  takes  him  too  long  to 
strike. 

HENRY  (tenderly  seating  MOTHER  G.  in  easy  chair].  He 
moves  slowly  because  hasty  action  would  ruin  his  plans.  (Stands 
back  of  chair,  voice  sympathetic,  features  depicting  intense  deter- 
mination, hands  rapidly  passing  over  MOTHER  GRUNDY'S  brows 
and  temples.}  You  are  very  tired,  mother. 

MOTHER  G.     I  know  I  am. 

HENRY.     And  sleepy  too. 

MOTHER  G.  (yawning).  That's  true.  A  drowsy — feeling — is 
— creeping — over — me. 

HENRY.  Then  go  to  sleep.  (Peers  into  face  from  back  of 
chair.)  That's  right,  close  your  eyes.  A  refreshing  nap  is  what 
you  need.  (Determinedly.)  Go  to  sleep  and  don't  stir  until  I 
call  you.  (Makes  a  few  passes  over  MOTHER  G.'sface,  steps  L.  , 
picks  up  coat  and  tenderly  places  it  beneath  his  mother  s  head  for 
a  pillow,  arranges  her  comfortably  in  chair,  then  surveys  her  for 
an  instant?)  My  victory  was  easier  than  I  expected.  You  look 
comfortable,  and  are  secure  from  mischief-making  for  this  night. 
(Quickly).  I'll  get  my  hat,  lock  up  the  house,  and  try  to  overtake 
Miss  Sefton.  (Starts  quickly  R.) 
Quick  close  in  with  street  in  G.  which  is 
SCENE  2. — A  slight  scuffle  heard  off  L.  I.  E. 

ANDY  (warningly  off  L.  I.E.).  Lookout  dar  !  Yo' come  nigh 
shovin'  me  in  de  dirty  gutter. 

DIMPLE  (off  L.  I.  E.,  warmly).  I  wish  I  had.  I  wish  I  could 
shove  you  headforemost  into  the  river. 

ANDY   (t ant ali zing ly).   Yo'  do,  eh  ? 

DIMPLE  (angrily).  Yes,  I  do.  What  is  your  object  in  follow- 
ing me  ? 

ANDY.  To  protect  yo',  of  course.  '  Tain't  safe  fur  a  Dimple 
darlin'  to  be  on  de  street  at  night  like  dis. 

DIMPLE.  I'm  able  to  take  care  of  myself,  and  I  want  you  to  go 
about  your  business  and  stop  prying  into  my  affairs.  If  you  don't 
(firmly)  there'll  be  trouble  in  store  for  you.  I've  spoken.  Remem- 
ber. 

Enter  DIMPLE  briskly  L.  I.  E.,  followed  by  ANDY.  When 
DIMPLE  reaches  C.  she  glances  over  left  shoulder,  stops  abruptly, 
turns  L.  ANDY  at  L.  C. 

DIMPLE   (irritated).     Don't  you  intend  following  my  advice  ? 

ANDY    (grinning).     Yes,  when  Tse  good  and  ready. 

DIMPLE  (hotly).  You're  the  most  exasperating  little  nigger  I 
ever  ran  across  ! 

ANDY  (coolly).    Where  am  yo'  goin'  ? 


The  Steel  King.  17 

DIMPLE  (furious].    None  of  your  business. 

ANDY.  Yo'  needn't  'spect  to  meet  Brass  Buttons  on  de  street 
to-night  fur  I  seed  him  all  rigged  out  in  his  soger  finery,  spoonin' 
wid  Miss  Maud. 

DIMPLE  (affecting  indifference.)  Ah,  indeed.  Is  that  a  fact  ? 
So  you  have  been  playing  the  spy  on  Miss  Maud,  too,  have  you 
(significantly  shaking  finger  at  ANDY)?  Let  me  tell  you  some- 
thing. There'll  be  an  interesting  scene  to-morrow  morning  when 
Miss  Maud  calls  you  to  account  for  what  you've  told  me. 

ANDY  (alarmed).  Don't  yo'  go  an'  blab  on  me !  'Tain't  a 
word  ob  truf  in  what  I  told  yo'.  Yo'll  kick  up  an  awful  row. 

DIMPLE  (pleased).  I  know  I  will,  but  that  row  will  be  a  tame 
affair  compared  to  the  one  which  will  follow  when  Mr.  Reber  is 
told  that  it  wasyou  who  locked  the  doors,  hid  the  keys  and  com- 
pelled him  to  leave  his  house  to-night  by  a  front  window. 

ANDY  (frightened).  Did  yo'  see  me  lock  de  door  an'  hide 
de  keys  ? 

DIMPLE  (firmly).     I  did. 

ANDY  (gasping).     An' — an* — yo'  'tend  to  tell  on  me  ? 

DIMPLE.     Certainly. 

ANDY.     An'  hab  me  fired  ? 

DIMPLE.     That's  what  you  deserve. 

ANDY.  I  wus  only  tryin'  to  help  Miss  Maud  keep  de  ole  man 
in. 

DIMPLE.  Then  why  hadn't  you  sense  enough  to  nail  down  the 
windows  ? 

ANDY.  I  never  thought  ob  dat.  (Pleadingly)  Say,  Dimple,  yo' 
won't  peach  on  me,  will  yo'  ?  I'll  gib  yo'  one,  two — free  months 
pay  if  you  don't.  (DIMPLE  starts  slowly  R.  ANDY  follows?) 
I'll  promise  to  do  anything  yo'  axes. 

DIMPLE  (at  R.  C).  Will  you  promise  never  to  meddle  in  my 
affairs  again  ? 

ANDY  (quickly).     Yes. 

DIMPLE,     Never  follow  me  on  the  street  ? 

ANDY.     Nebber,  as  long  as  I  lib. 

DIMPLE.     Nor  put  any  one  else  up  to  do  it  ? 

ANDY  (crossing  breast).     'Deed  an'  double  'deed,  I  won't. 

DIMPLE.  Then  kneel  down  and  swear  that  you'll  keep  your 
promises. 

ANDY    (expostulating ly).     Right  here  on  de  street  ? 

DIMPLE.  Yes,  sir.  Right  here,  this  minute.  Your  simple 
promise  isn't  worth  that !  (Snaps fingers.) 

ANDY  (quickly glancing  L).  Butdaram  'at  sneakin',  tell-tale 
Billy  Smith  peepin'  'round  de  corner. 

DIMPLE.  I  don't  care  if  there  are  fifty  Billy  Smiths  looking 
this  way.  You  have  got  to  do  what  I  tell  you,  or  take  the  cbn- 
quences. 

ANDY  (turning  quickly  R.,  shaking  right  fist  and  yelling  ex- 


1 8  The  Steel  King. 

citedly).  Scat !  Draw  in  yo'r  turtle  snoot  an'  scoot  fur  yo'r  life 
'fore  I  catches  yo'.  (Makes  feint  to  start  R.  and  beats  a  tattoo 
with  feet.}  He's  off.  De  coast  am  clear.  (Falls  to  knees  and 
elevates  right  arm.}  I  swear  it. 

DIMPLE  (quickly).  Now,  I'm  safe.  See  to  it  that  you  remem- 
ber that  oath,  but  don't  forget  (significantly)  that  I  made  you  no 
promises. 

(Quickly  exits  R.  laughing.) 

ANDY  (rising  disgusted).  Blamed  if  I  ever  had  a  meaner  or 
a — (brushing  knees)  dirtier  trick  played  on  me.  De  debbil  knowed 
what  he  wus  'bout  in  de  Garden  ob  Eden  when  he  got  Eve  to 
tackle  Adam  'stead  'ob  'sportin'  wid  her  hisself.  He  got  her  to 
bring  grist  to  his  mill,  an'  her  daughters  hab  been  helpin'  him  'long 
in  his  bis'  nis  eber  since,  Dar's  many  a  cloven  foot  peepin'  out 
under  a  silk  petticoat,  an'  no  man  is  sartain  sure  ob  heaben  dat 
follows  de  rustlin'  ob  wimmin's  skirts.  I'se  wiser  now  dan  a  half 
hour  ago,  but  I'll  get  even  wid  dat  gal  Dimple.  She's  in  lub  wid 
Lawyer  Green,  an'  is  conceited  'nough  to  b'lieve  she  can  side- 
track Miss  Maud.  I'se  put  a  bug  in  her  ear  dat  will  make  her  take 
de  shortest  way  home  dat  she  knows  ob.  Dat  gibs  me  an  idea !  I 
must  hurry  home,  too,  and  work  it  for  all  it's  worth.  (Dis- 
gustedly^ I  wonder  if  that  imp  ob  a  Smith  seed  me  do  de 
kneelin'  act  ?  If  he  did  an'  blows  to  de  boys  I'll  fertilize  a  ten- 
acre  lot  wid  his  carcass.  (Starts  L.) 

(Enter  HENRY  L.  I.  E.) 

HENRY.  Eh,  Andy,  you  are  the  person  I've  been  looking  for. 
Can  you  tell  where  I'll  be  likely  to  find  Mr.  Reber  ? 

ANDY.  I  seed  him  go  in  de  law  office  ob  Brown  &  Co.,  'bout  a 
half  hour  ago. 

HENRY.  Then  I'll  probably  find  him  there.  Have  you  seen 
Anthony  to-night  ? 

ANDY.  Yes,  sah,  he's  locked  arms  wid  de  debbil  again,  an* 
actin'  as  his  spokesman.  His  tank  am  half  full  of  bad  whiskey  an' 
his  top  mast  will  soon  need  splicin'  to  keep  his  colors  flyin'. 

HENRY.     That's  bad.     I  must  see  him  at  once. 

ANDY  (quickly,  pointing  off  R.).     Dar  he  goes  now. 

HENRY.  That's  true.  (Calls.)  Ho,  Anthony !  Can  I  see 
you  a  moment  ?  ( To  ANDY,)  Leave  me  please.  I  want  to  talk 
with  him  alone. 

ANDY.  All  right,  I'm  off.  Only  be  keerful  an'  don't  cross 
him.  He's  in  a  stavin'  humor. 

(Exits  L.  i  E.) 

Enter  BILL  R.  I  E.,  unsteady. 

BILL  (gruffly).     Well,  what  do  you  want  ? 

HENRY.     I'm  sorry  to  see 

BILL  (interrupting).  No  preaching.  It's  bread  I  want,  not 
lectures. 

HENRY.     It's  evident  that  you  are  not  in  need  of  liquids.     How 


The  Steel  King;*  19 

about  your  promise  to  Nellie  and  me,  "  one  glass  of  whiskey  at  a 
time  ?  " 

BILL.     I've  kept  it. 

HENRY.     Then  how  do  you  account  for  your  present  condition. 

BILL.     Ten  glasses,  one  at  a  time,  solves  the  problem. 

HENRY.  Ah,  I  see.  You've  kept  the  letter  of  the  law,  but 
broken  its  spirit.  Is  it  true  that  you  and  the  boys  have  planned  to 
destroy  Mr.  Reber's  property  to-night  ? 

BILL  (angrily}.     That's  none  of  your  business. 

HENRY  (coolly).     That  may  be  your  view,  but  I  see  things  in 
a  different  light.     As  a  law-abiding  citizen  it  is  my  duty  to  prevent 
.  crime  if  possible,  and  I  ask  you  for  the  sake  of  Nellie,  who  loves 
you  dearly,  to  go  home,  stay  there  and  avoid  trouble. 

BILL.     I  shan't  do  that. 

HENRY.  Then  I  shall  warn  the  authorities  of  your  purpose  and 
aid  them  to  defeat  it. 

BILL  (savagely).  No,  you  won't,  for,  damn  me,  I'll  throttle 
you  first.  There  shall  be  no  traitor  to  labor  in  our  ranks.  (Rushes 
upon  HENRY  and  attempts  to  seize  him  by  throat.  HENRY 
grasps  BILL  by  wrists  and  after  a  short  struggle  forces  him  to 
knees.) 

HENRY.  What  do  you  mean  by  trying  to  murder  one  who  has 
so  often  befriended  you  ?  Are  you  so  rum  crazed  as  to  be  unable 
to  distinguish  between  friend  and  foe  ?  What  would  Nellie  think 
were  she  to  hear  of  this  attack  upon  me  ?  It  would  almost  break 
her  loving  heart.  (Releases  BILL  and  helps  him  to  rise.)  Again 
I  beg  of  you,  by  the  love  you  bear  your  child,  to  go  home.  If  you 
longer  remain  upon  the  street  in  your  inflamed  condition  there  is 
no  telling  what  may  happen  to  you. 

BILL.  I  can't  go  home.  The  sight  of  my  child  maddens  me. 
She  is  slowly  dying  of  starvation,  and  from  a  lack  of  medicines 
which  Reber's  cursed  stubbornness  prevents  my  providing.  As 
sure  as  my  child  dies,  so  help  me,  God,  I'll  kill  that  wretch. 

HENRY  (horrified).  Hush  !  Hush  !  you  must  not  utter  such 
terrible  threats.  Do  what  I  asked  you  to  do,  and  I'll  pledge  you 
my  word  that  Nellie's  every  want  shall  be  attended  to. 

BILL.  How  ?  I'll  stand  no  charity  appeals  in  her  behalf.  Will 
you  make  Reber  open  his  mills  and  give  me  work  ? 

HENRY.     That  I  cannot  do. 

BILL.  Then  he's  got  to  take  the  medicine  prepared  for  htm,  and 
I'll  help  shove  it  down  his  throat.  (Exits  quickly  R.  I.  E.) 

HENRY  (gtuckly  starting  R).  Hold  up,  Anthony,  I've  another 
offer  to  make  you. 

BILL  (off  R.  i.  E).     Too  late !     The  die  is  cast. 
(Exit  HENRY  R.  i.  E.) 

Flats  are  drawn  off  disclosing 


20  The  Steel  King. 


SCENE  III. — REBER'S  colonial  residence  in  4 .  G  Door  C,  windows 
R.  and  L.  Practical  portico  elevated  three  feet,  length 
of  house,  with  practical  steps  C.  leading  up  to  it.  Large 
armchair  upon  porch  R.  with  palm-leaf  fan  upon  it. 
If  practical,  use  bunch  or  cluster  lights  R.  and  L.  rear  for 
lighting  effect.  Have  doorway  backed  to  represent  vestibule, 
with  drop  light  from  flies.  DIMPLE  discovered  iipon  portico, 
ear  to  keyhole  of  door  facing  R.  ANDY  crouching  L.  of  C. 
near  porch  watching  door  and  manifesting  delight. 

ANDY  (after  a  slight  pause).     Boo  ! 

DIMPLE  (startled).  Oh  !  (  Turns,  L.  clasping  hands  over  heart.} 
My,  but  that  startled  me,  my  heart  is  beating  like  a  trip  hammer. 

ANDY  (rising,  gleefully).  Now,  I'se  got  yo'  whar  I  wanted  yo', 
Miss  Spy.  Yo'  blow  on  me  to  de  ole  man  if  yo'  dare. 

DIMPLE  (at  edge  of  portico).  What  did  you  mean  by  causing 
me  such  a  fright  ? 

ANDY.  I  wanted  to  let  you  know  dat  I  had  ketched  yo'  in  a  mean, 
sneakin',  spy  act.  Yo'  can't  git  me  fired  now,  'less  yo'  git  yo'r 
walkin'  papers,  too.  Did  yo'  hear  de  music  of  Brass  Buttons 
clinkin'  'against  a  silk  waist  at  dat  key  hole  ? 

DIMPLE  (irritated).  No,  I  didn't.  I  was  merely  looking 
through  the  keyhole  to  find  out  what  prevented  my  latch  key 
from  opening  the  door. 

ANDY  (whistles).  Golly,  but  dat  am  a  whopper!  Do  yo' see 
wid  yo'r  ears  ?  Maybe  yo'll  deny  listenin'  at  de  keyhole  ob  de 
sittin'-room  door,  too,  an'  havin'  to  run  like  sin  to  'scape  bein' 
ketched  by  Brass  Buttons  an'  Miss  Maud  comin'  out  in  de  hall. 
(Gleefully,  as  DIMPLE  descends  steps.)  Oh,  I'se  got  you  down 
fine.  I  knowed  I'd  put  a  bug  in  your  ear  an'  dat  yo'd  hurry  home 
as  fast  as  yo'  could,  so  I  scooted  home,  too,  so  as  to  watch  yo'. 

DIMPLE.  You  are  a  mean,  contemptible,  lying  little  nigger. 
That's  what  you  are.  Didn't  you  swear  never  to  watch  me  again  ? 

ANDY.  'Course  I  did,  but  oath  wus  not  bindin'  in  de  eye  ob  de 
law,  'cause  it  was  wrung  from  me  by  propulsion. 

DIMPLE.  I  wish — (Loud  cry  of  angry  voices  heard  from  rear, 
startling  DIMPLE  and  ANDY.)  What  (does  that  mean  ? 

ANDY.     'Spect  de  riot  am  started.     I'll  see. 

(Quickly exits  L.  3  ^.followed by  DIMPLE.) 
Enter  GREEN  and  MAUD  from  house,  stand  upon  porch. 

MAUD  (anxiously).  I  am  greatly  alarmed,  Mr.  Green.  I  do 
wish  Mr.  Reber  had  remained  at  home.  His  going  down  town  a 
night  like  this  and  exposing  himself  to  the  fury  of  the  inflamed  pas- 
sions of  his  men  seems  to  me  like  flying  in  the  face  of  Providence 
and  inviting  destruction. 

GREEN  (hat  in  hand).  I'll  frankly  admit  that  your  fears  are  not 
without  a  reasonable  foundation  and  they  are  shared  by  others. 
Yet  I  hope  that  no  harm  may  befall  Mr,  Reber,  Our  authorities 


The  Steel  King,  21 

evidently  fear  trouble  to-night  and  realize  their  inability  to  cope 
with  it,  for  I  received  a  telegram  from  our  Governor  a  half  hour  ago 
ordering  me  as  captain  of  the  Light  Horse  Guard  to  hold  my  men 
in  readiness  to  assist  the  civil  authorities  in  preserving  law  and  order. 
My  men  are  now  assembled  under  arms  in  the  armory  and  are 
ready  at  a  moment's  notice  to  quiet  any  breach  of  the  peace  that 
may  occur.  My  instructions  are  to  uphold  the  majesty  of  the  law, 
and  to  protect  the  lives  and  property  of  any  who  are  in  danger  from 
unruly  elements  at  all  hazards.  (An  indistinct  commotion  heard 


MAUD  (greatly  alarmed).  Hark  !  What  does  that  mean  ?  (A 
scurrying  of  feet  is  heard  off  R.  and  voices  are  heard  in  the 
distance  -,  "  Give  us  bread  or  death*  '"  '•  Down  with  baron  rob- 
bers /"  "  Steel  Kings  !  "  "  Oppressors  of  the  poor,  who  deny  bread 
to  starving  men,  women  and  children  !  ")  Trouble  is  fomenting 
and  the  fires  of  anarchy  are  being  lighted  !  A  reign  of  terror  will 
soon  be  upon  us.  {Extends  arms  aloft.)  God  have  mercy  upon 
us  and  avert  bloodshed  and  the  horrors  of  mob  law. 

GREEN  (placing  hat  upon  head  and  descending  steps].  I  must 
be  off  to  my  post  of  duty.  Good  night,  Miss  Sefton.  Be  of  good 
cheer.  Hope  for  the  best  and  I  trust  all  will  end  well. 

MAUD.  Goodnight.  Do  your  duty  in  the  fear  of  God.  While 
you  watch,  I  shall  pray.  (Exit  GREEN  L.  3E.,  hurriedly  ;  MAUD 
into  house.) 

(  Terrific  commotion  off  R.  which  momentarily  becomes  louder 
and  nearer.  Frantic  cries  are  heard,  "  Dont  let  him  escape  !  " 
"  Kill  the  scoundrel  !  "  "  Hang  the  wretch  !  "  "  Away  with  him 
to  the  nearest  lamp  post  !  "  "  He  fights  with  the  fury  of  a  mad- 
man !  "  "  Hold  him,  hold  him.  He's  off  again  !  "  A  fearful 
cry  of  rage  is  uttered,  "  Catch  him  /  "  "  Seize  him  !  "  accom- 
panied with  the  sound  of  running  footsteps.} 

Enter  REBER  running  R.  i.  E.  Hat  off,  coat  in  tatters,  col- 
lar bursted  in  front,  seems  nearly  exhausted  and  is  badly 
frightened.  Glances  over  left  shoulder  as  he  enters,  trips  and 
falls. 

REBER  (hastily  rising}.  The  hounds  are  after  me.  Oh,  for 
strength  enough  to  reach  my  home  !  (Starts  quickly  for  house,  is 
intercepted  by  ANTHONY  and  four  men  who  riish  in  from  R.  U. 
E.) 

BILL  (savagely  seizing  REBER).  No,  you  don't  ;  we've  got  you 
now.  Help  me  secure  him,  men.  (Men  surround  REBER  who 
fights  furiously.  Men  rush  in  R.  i,  2  /i;/*/  3  E.  armed  with 
clubs,  hammers,  pitchforks  and  ropes.  Suit  number  of  mob  to 
stage  capacity.) 

REBER  (screaming).     Help  !  Help  !  Help  !     I'll  be  murdered  ! 

Re-enter  HENRY  running  R.  i  E.  He  furiously  brushes  men 
aside  and  forces  his  way  C.  At  same  instant  re-enter  ANDY  L. 
2  E. 


22  The  Steel  King. 

BILL  (trying  to  force  REBER  to  knees).  Down  on  your  knees 
and  pray.  Your  time  in  this  world  is  short. 

HENRY  {furiously  attacking  men  nearest  REBER).  Release 
that  man,  you  cowardly  scoundrels  !  You  shall  not  injure  him  in 
my  presence. 

ANDY  (striking  R.  and  L.).  Plug  de  low  cusses  right  an'  left. 
I'se  wid  yo'. 

BILL.  Treason  in  the  camp.  Down  with  monopoly  sympa- 
thizers !  (Men  upon  outer  circle  crowd  toward  C.  REBER, 
HENRYS*/  ANDYy/^/  desperately,  but  are  gradually  being  over- 
powered. Re-enter  MAUD  from  house  with  revolver  in  hand. 
Takes  in  situation  at  a  glance.  Raises  revolver  and  fires  over 
head  of  men  who  rush  pell  mell  down  a  few  steps  leaving  REBER 
at  C,  HENRY  to  his  R.  and  ANDY  to  his  L.) 

BILL  (startled.  Faces  REBER,  back  to  porch).  My  God,  what 
is  the  meaning  of  that !  (Hastily  glances  over  left  shoulder. 
HENRY  quickly  strikes  him  and  knocks  him  down. 

HENRY  (quickly  seizing  REBER,  speaks  rapidly).  Now  is  our 
chance,  Andy.  Into  the  house  with  him  in  a  jiffy,  Be  quick. 
(ANDY  seizes  REBER,  who  totters  from  weakness  and  with 
HENRY'S  help  starts  winning  up  with  him.  BILL  rises  quickly. ) 

BILL  (savagely  to  mob  as  he  starts  up).  Seize  him  !  (Mob 
starts  ^tp.  MAUDjfires  over  men  s  heads.  They  fall  back.  BILL 
halts.) 

MAUD.  Don't  compel  bloodshed,  men.  Go  home  and  give  up 
your  wicked  designs.  (REBER,  HENRY,  ##</ANDY start  up  steps 
of  porch. ) 

BILL  (preparing  to  rtisk  up).  One  grand  rush,  boys,  and  the 
man  and  house  will  be  ours.  Ready  ! 

Re-enter  GREEN  L.  3  E.  leading  a  body  of  soldiers,  single  file, 
on  a  double  quick.  Have  enough  soldiers  to  line  up  across  L.  3  E. 
to  R.  3  E. 

GREEN  (at  R.  3  E.).  Halt !  Left  face  !  (Men  obey  orders. 
MAUD  removes  fan  from  chair,  REBER  is  seated  in  it.  MAUD 
stands  R.  and  fans  REBER  while  watching  every  movement  of 
men  below.  ANDY  stands  L.  of  REBER.  As  soon  as  REBER  is 
seated,  HENRY  quickly  descends  steps,  passes  back  and  around  L. 
end  of  soldiers  and  takes  position  at  L.  2  E.) 

BILL  (enraged).  Charge  upon  the  blue-coated  minions  of 
wealth,  boys,  and  trample  them  underfoot.  Be  quick  !  (Mob  with 
yells  of  rage  start  up,  but  halt  when  guns  are  trained  upon  them) 

GREEN  (quickly,  elevating  sword.  Men  obey  commands). 
Ready  !  Aim  ! 

HENRY  (running,  C.  and  facing  soldiers,  and  slightly  in  ad- 
vance of  mob.  Speaks  in  thrilling  tones)  My  God,  captain,  don't 
slaughter  these  poor,  misguided,  passion-crazed  men.  If  you  must 
shoot—  (elevates  arms)  direct  your  men  to  send  their  volley  into 
me. 


KThe  Steel  King.  23 

MAUD    (shrieking  as  she  falls  to  knees  and  clasps  hands}. 
pare  him  !     Spare  him  !     This  is  awful ! 
REBER  (quickly  rising,  speaks  with  intense  excitement,  but  with 
i,bored  effort}.      Don't  shoot — Captain. — Order — your  men  to — 
present  bayonets — and  hold  the  mob  at  bay. 

QUICK  DROP. 


ACT   III. 

SCENE — Same  as  SCENE  3.  ACT  I.  Curtain  rises  to  music. 
REBER  seated  at  table  L.  C.,  right  elbow  upon  table,  chin 
resting  in  palm  of  hand,  lost  in  thought*  Lights  up.  Enter 
MAUD  silently  D.  C.  Sees  REBER.  Goes  down  and  lays  hand 
upon  his  left  shoulder.  REBER  starts. 

MAUD  (anxiously).     Are  you  feeling  badly,  sir  ? 

REBER.  Yes,  I'm  so  disgusted  and  heartsick  at  my  men's 
unjustifiable  attack  upon  me  last  night  that  I  feel  tempted  to  dis- 
mantle my  mills. 

MAUD.  That  would  prove  a  terrible  calamity  to  this  town. 
Better  sell  your  plant  and  retire  from  business. 

REBER.  Gladly  would  I  do  that  this  day  had  I  a  purchaser  for 
it, 

MAUD.     I'll  buy  it. 

REBER  (surprised).  You'll  buy  it !  What  would  you  do  with 
it? 

MAUD.  Run  it  upon  a  co-operative  plan.  My  men  receiving 
the  market  value  for  their  labor  and  a  pro  rata  share  of  all  profits 
above  ten  per  cent  upon  capital  invested  in  the  plant.  Six  per  cent 
of  that  would  represent  my  dividend ;  two  per  cent  repairs ; 
while  the  remaining  two  per  cent  would  go  into  a  sinking  fund 
with  the  understanding  that  when  it  equalled  the  capital  I  origin- 
ally invested  it  would  be  handed  me  and  my  plant  become 
the  property  of  my  men.  Don't  you  think  such  a  plan  would 
prove  an  incentive  for  men  to  give  the  best  returns  for  labor 
possible  ? 

REBER.  I  certainly  do.  It  would  be  to  their  interest  to  work 
hard,  use  material  to  the  best  advantage,  and  exercise  care  in  the 
use  of  machinery  and  tools. 

MAUD.  Just  so,  sir.  (Enthusiastically.)  Every  well-directed 
thought  and  blow  struck  would  mean  that  much  toward  their  eleva- 
tion to  proprietorship.  It  would  create  pride  in  the  character  of 
work  turned  out ;  contentment  that  capital  was  not  trying  to  take 
advantage  of  labor's  necessities  ;  cement  the  men  in  a  bond  of 
brotherhood  having-  in  view  the  common  weal  of  all,  and  help  pave 
the  way  for  the  ultimate  triumph  of  Christianity.  Does  not  my 
plan  commend  itself  to  your  thoughtful  consideration  ? 

REBER.  No,  it  is  impracticable ;  too  much  of  a  one-sided  ar- 
rangement. 

MAUD.  I'm  sorry  to  hear  you  say  that.  I  know  the  revenue  I 

24 


The  Steel  King*.  25 

would  derive  from  my  investment  would  not  enable  me  to  accu- 
mulate money  rapidly,  yet  it  would  enable  me  to  lend  a  helping 
hand  to  those  who  were  obliged  to  toil  for  their  daily  bread,  which 
would  give  me  far  greater  pleasure.  I  consider  the  fortune  left 
me  by  my  father  in  the  light  of  a  sacred  trust,  for  which  I  shall 
some  day  be  called  upon  to  give  an  account.  It  came  not  into  my 
hands  by  chance,  but  was  committed  to  my  care  by  a  loving  Cre- 
ator for  a  wise  purpose.  I  feel  keenly  the  responsibility  resting 
upon  me  and  have  no  desire  to  increase  it  by  adding  to  my  wealth. 
In  thinking  how  I  could  best  employ  my  capital,  so  as  to  improve 
the  condition  of  mankind,  bring  happiness  to  myself  and  present 
an  example  for  holders  of  wealth  to  pattern  after,  I  conceived  the 
plan  I  have  just  mentioned.  I  believe  it  to  be  a  feasible  one.  It 
surely  will  attest  my  love  for  my  fellowmen  and  enable  me  the 
more  successfully  to  carry  out  my  life's  mission. 

REBER.    What  is  that  ? 

MAUD.  To  make  the  world  better  and  brighter  for  my  having 
lived  in  it.  Will  you  sell  me  your  mills?  (Pleadingly.)  Please 
do,  for  I  wish  to  end  the  terrible  suffering  of  the  men,  women,  and 
the  innocent  children  of  our  town  which  I  am  daily  called  upon  to 
witness. 

REBER  (with  warmth).  No,  I  will  not.  My  advice  to  you  is 
to  give  up  your  fanatical  religious  ideas,  let  your  capital  remain 
where  I  have  salted  it  down  for  you  in  good  first  mortgage  securi- 
ties, and  leave  the  manufacturing  business  to  be  looked  after  by 
those  qualified  for  the  business. 

MAUD.    I 

Enter  HENRY  D.  C.  ushered  in  by  ANDY. 

ANDY.  Mr.  Henry  to  see  Mr.  Reber  on  'ticular  bis'rris.  (Ex- 
its D.  C.  REBER  rises.) 

HENRY.  Good  morning,  Miss  Sefton,  Mr.  Reber.  (MAUD 
bows.) 

REBER  (pleasantly).     Good  morning,  Henry. 

MAUD  (to  REBER).  Excuse  me,  please.  (Crosses  R.  and  exits 
R.  2  E.) 

REBER  (going  iip).  I'm  glad  to  see  you.  (Grasps  HENRY'S 
hand,  who  appears  sightly  displeased.)  I  was  just  on  the  point 
of  sending  for  you.  I  wanted  to  thank  you  again  for  saving  my 
life.  You  acted  nobly  last  night,  as  but  few  men  would  dare  do.  In 
risking  your  life  to  save  mine,  to  prevent  bloodshed  and  the  usher- 
ing in  of  a  reign  of  anarchy  you  have  won  the  gratitude  of  myself, 
your  fellow  townsmen,  and  that  of  our  State. 

HENRY.  I  did  but  my  duty,  sir,  as  I  would  others  do  to  me,  so 
please  let  us  dismiss  the  subject.  Do  you  recall  a  promise 
made  me  to  fulfil  any  request  which  lay  in  your  power  to 
grant  ? 

REBER.  I  do.  It  was  made  after  your  refusal  to  accept  a 
check  for  stopping  my  runaway  team  and  probably  saving  my  life. 


The  Steel  King. 
HBBKT  (Bgm£jKmMtfy\.    Yon  have  a  good  memory  for  some 


What  did  I  ever  do  to  gain  your  comity? 
HEXRY.    Fjornse  me,  sir,  but  I'd    rather    not  answer    your 


tne  street'  that  you  in- 

Anthony  for  •railing'  the  attack  upon  yoa  last 
laskifitbetroe? 

It  is. 
Then,  sir,  I  beg  of  you  not  to  do  it.    By 

r-^niJC  rrr  rrques:  y:-u  ni  fulf.i  rhe  "prornise   mice  r^e  and  re- 
fieve  Tometf  of  every  oUgation  that  yon  feel  you  owe  roc. 

).    Why,  man.  what  do  yon  mean?    Do  yon 


Ill  pennk  a  man  to  attempt  to  kill  me  and  then  let  him  go 
soot  free?     Do  yon  forget  that  man  would  have  kiBed  you  had 

it  n re  n*t"f'n  *or  *r.'c  ir-t.er"lcrcrjc^e  oi  tDe  trocos  i2LSt  n'^r^t  * 
HEVST.    No,  sir.  I  do  not  forget  k,  neither  do  I  f oiget  that 

the  btow  1  strack  him  and  the  defeat  of  his  purpose  when  he  at- 
tacked roe,  I  had  a  long  talk  with  him  last  night  after  the  erate- 
ment  suhiidrd,  mod  after  convincing  him  that  the  blow  I  struck 
him  sawed  him  from  the  gallows,  be  freely  forgave  me  for  it  and 
acknowledged  me  as  his  friend. 

RJLMLK.  4se4DrcJk&ig'fy)»  IVas  £  yon  who  hustled  him  so  <]oickly 
to  a  place  of  safety  and  prevented  the  officers  front  arresting  him  ? 
(A  stigkt  fmmse.  HENRY  sljgAtfy  toon  hemd.  eyes  ttfa*  Jbgr.) 
Yes,  I'm  sore  of  k.  Yon  arc  a  strange  man !  First  you  risk  your 
fife  in  my  behalf ;  then  offer  it  as  a  sacrifice  for  a  mob's  sins ;  then 
when  attarfard  with  murderous  design,  you  seize  your  would-be 
r  and  harry  him  off  to  a  place  of  safety  to  prevent  his  ar- 
l  finally  win  his  friendship.  Soch  actions  are  beyond  my 

"    i.    To  what  are  they  doe? 

Hknr.    To  a   simple  desire  to  preserve   die    laws   of  my 
men,  and  to  (fainting  upward]  sore  my 

trinity  of  motives,  eh  ?    Not  a  bad  code  of  principles 
by.     I'd  fifce  to  pant  your  request,  lor  I  owe  you  much,  yet 
I  don't  ^^  ti*»  MJM  of  that  **^*i«Mln^i  mr^ping  thg  punishment  he 

. .   .  _  ^ . . 

Montr.  He's  not  a  bad  man  at  heart.  Whiskey  has  got  the 
upper  band  of  him  just  now.  Prior  to  die  closing  down  of  your 
••ill,  there  wasn't  a  kinder  bnshand  or  father  to  be  found  any- 
where. Since  that  time,  he's  gone  down  the  road  to  perdition  at 
a  rapid  pare.  He's  exhausted  his  credtt  around  town,  and  his  poor 
wife  and  chfldien  are  on  the  *crge  of  starvation:  It  was  the  sight 
'^:  irjt:.r  IT.  .stry  .&s:  r/^i:  :r.at  crcvt  L:.l  to  frenzy. 
Do  JOB  know  where  to  find  him  ? 


The  Sted  King*  27 

HENRY.    I  do. 

REBER.     How  long  will  it  take  you  to  bring  him  here  ? 

HENRY.    About  five  minutes. 

REBER.  Then  do  so.  I'd  tike  to  ask  him  a  question  or  two. 
Upon  his  answers  will  depend  whether  I  grant  your  request. 

HENRY.  Will  you  pledge  me  your  word  that  no  treachery  is 
intended  ? 

REBER  (surprised).    Why,  what  do  yon  mean  ? 

HENRY.  That  he  will  not  be  arrested  if  he  appears  here,  and 
that  no  spies  will  be  employed  to  shadow  him  when  he  leaves. 

REBER  (warmly).  What  do  you  mean  by  such  insinuations? 
Do  yon  consider  me  a  petty  trickster  and  unworthy  of  confidence  ? 
You  have  grossly  insulted  me  and  deserve  to  be  kicked  out  of  my 
house. 

HENRY.  I'm  sorry  that  I've  offended  you.  Such  was  not  my 
intention.  I  was  only  thinking  of  Anthony's  safety.  I  desire  his 
reformation  and  believe  it  can  be  effected  if  mercy  be  shown  him 
in  his  present  situation.  I  spoke  hastily  —  out  of  a  heart  full  of 
bitter  memories. 

REBER  (inquiringly).    Towards  me? 

HENRY  (hesitatingly}.     Yes,  sir. 

REBER.    Why,  what  wrong  have  I  done  yon  ? 

HENRY.  Please  don't  press  the  matter,  Mr.  Reber.  I  fed 
that  the  near  future  will  reveal  k  in  all  its  fulness,  and  that  events 
are  shaping  themselves  to  that  end.  I'm  ready  to  produce  An- 
thony. Shall  I  do  so  and  let  him  speak  for  himself  ? 

REBER.  Yes.  To  allay  all  fears  111  promise  that  should  he 
fall  into  the  hands  of  the  authorities  as  an  outcome  of  the  inter- 
view, 111  use  my  influence  to  have  him  released,  even  to  the  extent 
of  refusing  to  appear  against  him. 

HENRY.    Thank    you.      Good    morning.      (Bows  and  starts 


REBER.   Ill  see  you  out  (Exeunt  HENRY  and  REBER  dwrC.) 

Enter  ANDY  L.  2  E..  excitedly,  mth  small  camera  in  hand. 

ANDY.  By  golly,  where  shall  I  hide  ?  Dey  am  comin"  dis  way. 
(Runs  up  and  gets  behind  screen  L.  C.) 

Enter  GREEN  /?*</  DIMPLE  L.  2  £.     Go  dam*  C 

GREEN.  Are  yon  sure,  Dimple,  that  you  love  me  better  than 
anyone  else  in  the  world  ? 

DIMPLE     (beaming}.    Yes,  I'm  sure  of  ft. 

GREEN.  Do  you  think  Mr.  Reber  or  Miss  Maud  have  any  idea 
of  our  attachment  ? 

DIMPLE    (emphatically.     No.  indeed. 

GREEN.     How  about  that  little  nigger  ? 

DIMPLE.  There's  no  telling  what  he  thinks  or  knows.  He  can 
out-swear,  cheat  and  lie  old  Nick  himself.  (ANDY^feqfe  0*t  R.  mf 
screen  immensely  tickled.) 

GREEN.    I'm  heartily  ashamed  of  the  way  I've  deceived  Mr. 


28  The  Steel  King. 

Reber  and  Miss  Maud.  I've  abused  their  hospitality  and  friend- 
ship for  the  sake  of  a  little  fun  with  you. 

DIMPLE     (alarmed].     A  little  fun  with  me  ? 

GREEN  (coolly).  That's  what  I  said.  To-day  ends  my  visits 
here. 

DIMPLE  (half  crying).  Don't — you — intend — coming  to  see 
—me — any  more  ? 

GREEN.     No.    I  cannot. 

DIMPLE.  Are  you  going — to — cast  me  off — after  all  that's — 
passed — between  us  ? 

GREEN.  I  certainly  must — (A  slight  pause.  GREEN  looks  at 
DIMPLE,  who  appears  ready  to  burst  into  tears.)—  unless 

DIMPLE.     Unless  what  ? 

GREEN.     Unless  you  promise  to  marry  me  next  week  ! 

DIMPLE.     Are  you  in  earnest?     Oh,  tell  me  quickly. 

GREEN     (smiling).     I  certainly  am.    (Extends  arms.) 

DIMPLE  (joyously).  Then  I'll  do  it.  (Springs  into  GREEN'S 
arms.  ANDY  exposes  enough  of  his  body  to  take  snap  shot  of  the 
scene,  while  manifesting  intense  delight,  then  retreats  behind 
screen) 

GREEN.     Did  you  think  I  no  longer  loved  you,  sweetheart  ? 

DIMPLE.     Yes.     Don't  play  any  more  tricks  like  that  on  me. 

GREEN.  I  won't.  At  least  not  until  after  our  marriage.  (Re- 
leases DIMPLE.)  You  had  better  direct  me  to  Miss  Maud  now.  I 
must  keep  up  appearances,  you  know. 

DIMPLE.     All  right.     This  way,  please.     (Exeunt  R.,  2  E.) 

(ANDY  appears  from  behind  screen  with  camera.  Places  it  in 
coat  pocket  as  he  goes  do^vn  C.  talking) 

ANDY.  Dat  makes  one  hundred  an'  twenty-five  hug-me-tight, 
jowl-to-jowl,  lap-warmin'  an'  kissin'  scenes  dat  I'se  taken  ob  dis 
courtin'  match.  Brass  Buttons  am  got  to  pay  me  fur  Dimple,  dats 
a  sure  pop.  I'se  not  in  de  bis'nis  fur  a  lub  ob  art,  nor  fur  'muse- 
ment ;  but  'tensely  prac'able  purposes.  Ebbery  picture  represents 
a  pull — (Extends  arms  and  draws  them  in  as  thoiigh  embracing 
some  one)  an'  a  suction — (Puckers  lips)  dat'll  draw  silver  dollars 
from  de  lawyer  like  as  he  wus  a  mintin'  machine.  Dat'll  make 
Dimple  ravin'  mad,  an  I'se  mighty  a-feared  she'll  tell  de  ole  man 
'bout  de  key  racket  an'  git  me  fired.  If  Miss  Maud  hadn't  gib  me 
five  dollars  to  help  her  keep  de  ole  man  in,  I'd  nebber  tho't  ob  dat 
dodge.  Now,  if  dar's  a  hearin'  dat  bribe  will  come  out  an'  my 
bacon  be  cooked  to  a  crisp.  I'll  hab  to  bluff  Dimple  good  an'  hard 
to  keep  her  quiet.  Dat's  my  only  hope,  fur  dars  no  chance  of 
'peasin'  de  ole  man's  raff  by  pleadin'  devotion  to  his  int'rests  wid 
dat  bribe  stickin'  out. 

Re-enter  DIMPLE  R.  2  E.  in  a  joyous  mood.     Goes  down  C. 

ANDY.  Here  she  comes !  May  de  good  Lord  'spire  me  wid 
de  cunnin'  ob  de  debble  ! 

DIMPLE  (pleasantly).  Andy,  what  did  Mr.  Reber  say  to  you 
about  your  fighting  for'him  last  night  ? 


The  Steel  King*  29 

ANDY.     Oh,  he  praised  me  sky  high  !     Most  went  down  on  his 
knees  showin'  de  gratitude  dat  he  owed  me.     'Twas  not  so  much 
what  he  said  as  what  he  did  dat  touched  my  heart. 
DIMPLE     (eagerly).     What  was  that  ? 

ANDY.     Gave  me  a  twenty-dollar  bill  to  plaster  over  me  bruises. 
DIMPLE.     That  was  kind  ! 

ANDY    (aside).     Now,  for  de  bluff.     (To  DIMPLE).    It  was  too 
kind,  'cause  it  broke  me  all  up,  made  me  feel  dat  bad  lockin'  him 
in  last  night,  so  I  up  an'  told  him  de  whole  racket. 
DIMPLE     (astonished).     You  did  ? 

ANDY.     Yes,  made  a  clean  breast  ob  it. 

DIMPLE     (eagerly).     What  did  he  say  ? 

ANDY.  At  first  he  was  awful  mad,  stormed  'round  an'  'bused 
me  shameful.  Den  he  cooled  down,  laughed  an'  said  it  was  a  good 
joke,  but  he  warned  me  nebber  to  take  sich  liberties  wid  him 
again  or  he'd  crack  my  head. 

DIMPLE.     You  were  lucky  getting  off  so  easy. 

ANDY.  Mebbe  I  wus,  but  yo'  don't  s'pose  de  ole  man  would 
treasure  anything  agin  me  now,  arter  de  way  I  fit  fur  him  last 
night,  do  yo'  ? 

DIMPLE.  He  would  not  be  likely  to,  unless  he  knew  as  much 
about  your  badness  as  I  do. 

ANDY.  He  wouldn't  do  it,  eben  den.  I  knows  how  he  fee's 
towards  me.  If  yo'  wants  to  test  it  yo'  am  welcome  to  tell  him  all 
yo'  knows  'bout  me.  (Boldly)  I  dares  yo'  to  do  it. 

DIMPLE.  You  can  afford  to  be  brave  now  that  you  are  in  Mr. 
Reber's  good  graces,  but  how  about  last  night  when  you  were 
down  on  your  knees  ?  (ANDY  winces)  You  don't  like  to  hear 
about  that,  eh  ? 

ANDY  (angrily).  No,  I  don't,  an'  yo'  tryin'  to  rub  it  in  will 
make  yo'  twenty-five  dollars  poorer  dan  yo'  would  have  been. 

DIMPLE.  How?  (Doorbell rings  off "L.)  Oh,  pshaw !  There 
goes  the  doorbell !  (Exits  hurriedly  L.  2  E.) 

ANDY  (chuckling).  Dar's  no  danger  ob  her  tattlin'  now. 
She  t'inks  me  solid  wid  de  ole  man 

Re-enter  REBER  D.  C. 

REBER  (Up  C).  Andy,  I  want  you  to  hand  me  inside  of  an 
hour  the  name  of  the  servant  who  sought  to  become  my  jailer  last 
night.  Such  a  high-handed  piece  of  impudence  merits  dismissal, 
and  I  intend  he  shall  get  his  deserts.  (ANDY  faces  audience, 
scared) 

ANDY.  But  s'posin'  he  did  it  out  ob  lub  fur  yo' — to  keep  yo' 
from  harm,  what  den  ? 

REBER.  No  supposition  will  be  entertained.  I  want  facts  and 
shall  expect  you  to  furnish  them.  (ANDY  slightly  turns  head  L., 
eyes  upon  the  floor,  scared  expression.  REBER  looks  at  him  a  mo- 
ment, nods  head  knowingly,  smiles,  crosses  and  exits  R.  2  E.) 

ANDY.    Dis  am  de  debble's  own  work,  an'  how  J'se  to  pull  out 


30  The  Steel  King, 

'less  he  gib  me  a  big  lift,  I  don't  know.  S'posin'  de  bell  hadn't 
rung  an'  Dimple  had  heard  de  ole  man  !  Oh,  Lordy  !  It's  sartin 
dat  I'll  hab  to  own  up,  but  darn  my  Sunday-go-to-meetin'  breeches 
if  dat  gal  hears  me,  eben  if  I  has  to  kidnap  de  ole  man  so  as  to 
'fess  to  him  alone.  , 

Re-enter  REBER  R.  2  E.  followed  by  MAUD  and  GREEN. 

REBER.  I  do  not  fear  any  violence  from  Anthony,  and  only 
desire  your  presence  as  witnesses  to  the  interview.  (Crosses  to 
table  L.  C.  and  takes  seat.  P^w  goes  up  L.  C.,  GREEN  down  R. 
C,  MAUD  to  his  L.) 

DIMPLE  (in  doorway  C.).  Mr.  Henry  and  Anthony  to  see  Mr. 
Reber. 

REBER  (rising  L.  of  table).  Show  them  in.  (DIMPLE  exits 
L.) 

Re-enter  HENRY  door  C.  followed  by  BILL.  HENRY^^  down 
L.  C.  near  MR.  REBER.  ANTHONY  up  L.  C. 

HENRY.  Anthony  is  here,  Mr.  Reber,  and  ready  to  answer 
any  questions  you  may  desire  to  ask  him. 

REBER.  Is  it  true,  Anthony,  that  you  were  the  ringleader  of 
the  mob  that  attacked  me  last  night  ? 

BILL.     It  is. 

REBER.     Is  it  a  fact  that  you  intended  to  kill  me  ? 

BILL.     It  is. 

REBER.     You  are  candid. 

BILL.     Don't  you  desire  the  truth  ? 

REBER.    I  do. 

BILL.     That's  what  I'm  giving  you. 

REBER.  Did  I  ever  do  you  a  wrong  which  would  justify  your 
taking  my  life  for  it  ? 

BILL.     No,  I  can't  say  that  you  did. 

REBER.     Then  why  did  you  attempt  it  last  night  ? 

BILL.     I  was  driven  to  it  by  frenzy. 

REBER.     Produced  by  what  ? 

BILL  (brokenly,  drawing  coat  sleeve  across  eyes}.  By  the 
sight — of  my — starving  children.  (Goes  quickly  up  C.,  is  met  at 
door  C.,  by  DIMPLE  and  NELLIE.  BILL  picks  up  NELLIE  and 
goes  down  L.  C.  to  former  position.  NELLIE  is  thin  and  wan, 
arms  and  features  made  up  to  represent  an  emaciated  condition. 
DIMPLE  enters  and  takes  position  up  R.  G.) 

BILL  (extending  NELLIE).     Here  is  one  of  them. 

REBER.  (horrified).  My  God,  man,  you  don't  mean  that  child's 
condition  is  due  to  want  of  food,  do  you  ? 

BILL.  Principally  that.  (Draws  NELLIE  to  bosom,  who  throws 
arms  around  BILL'S  neck  and  rests  head  upon  his  shoulder.  BILL 
draws  coat  sleeve  of  disengaged  arm  across  eyes.  All  visibly 
affected.}  I  have  four  more  at  home,  little  better  than  this  one. 
The  sight  of  their  misery,  the  thought  that  you  were  responsible 
for  their  condition  in  denying  me  work,  and  a  glass  of  bad  whiskey, 


The  Steel  King>  31 

caused  the  devil  to  take  possession  of  me.  If  ever  hell  existed 
upon  earth,  my  breast  held  its  throne  last  night.  Yes,  I  intended 
to  kill  you — (NELLIE  tries  to  cover  BILL'S  mouth  with  hand.) 
It's  the  truth,  dearie,  and  that's  what  the  gentleman  wants  to 
hear.  I  did  intend  to  kill  him  and  would  have  done  it,  had  it  not 
been  for  that  man  (indicating  HENRY),  who  saved  his  life  and 
my  own.  I  know  I  did  wrong  and  I'm  sorry  for  it ;  but  what's 
done  can't  be  undone.  If  I  alone  could  be  made  to  suffer  for  my 
folly  it  would  be  easier  to  bear  (brokenly), — but  to  think  of  you, 
mother,  and  the  other  little  ones  having  to  share  it  with  me  is  what 
hurts  me  most. 

REBER.  Anthony,  if  I  agree  not  to  prosecute  you  for  your 
attack  upon  me  last  night,  promise  to  relieve  all  immediate  needs 
of  your  family,  and  to  give  you  a  position  to-morrow  which  will  en- 
able you  to  live  in  comfort  and  lay  aside  money  for  a  rainy  day, 
will  you  reveal  to  me  the  names  of  your  lieutenants  who  aided  you 
in  fomenting  last  night's  trouble  ? 

BILL  (emphatically).     No,  sir. 

ANDY  (quickly,  aside).     Bully  for  him  ! 

REBER.     What  !     Do  you  mean  that? 

BILL.    I  do. 

REBER.  Will  one  thousand  dollars  added  to  my  other  induce- 
ments cause  you  to  change  your  mind  ? 

BILL.  No,  sir,  nor  one  hundred  thousand  dollars  on  top  of  it. 
You  can  starve  me,  torture  me  with  prison  fetters  ;  but  I'll  never 
prove  a  traitor  to  my  fellow-workmen,  so  help  me,  God  ! 

ANDY     (aside).     Dat  has  de  ring  ob  true  metal ! 

(MOTHER  GRUNDY,  wild-eyed,  excited,  is  seen  at  door  C. 
peeping  in,  but  is  unobserved  by  actors?) 

REBER.     Then  the  law  shall  take  its  course.     I 

HENRY.  One  moment,  Mr.  Reber,  please.  I'd  like  to  say  a 
word  in  behalf  of 

REBER,  'Twill  be  useless.  My  mind  is  made  up.  No  mercy 
has  been  shown  me  ;  neither  will  I  show  mercy. 

Enter  MOTHER  GRUNDY  quickly  door  C.  stands  up  C.  much 
excited. 

MOTHER  G.  Then  you  die  !  (  All  are  startled.  MOTHER  G. 
quickly  throws  fold  of  shawl  over  right  of  shoulder,  raises  right 
arm  aloft  as  in  act  of  throwing,  revealing  a  black  ball  in  hand 
the  size  of  an  egg.} 

REBER  (shrieking  with  fright).  A  dynamite  bomb  !  My 
God,  we'll  be  blown  to  atoms  ! 

MOTHER  G.  A  bold  robber  in  life,  a  cringing  coward  in  death  ! 
Ha— Ha!  Die! 

HENRY  (quickly,  with  force).  Mother,  you  can't  throw  that 
bomb.  Your  arm  is  paralyzed  !  MOTHER  G,  slightly  starts,  arm 
becomes  rigid,  eyes  appear  staring,  mouth  open.  REBER  down 
L.C./ace  turned  L.  body  slightly  inclined  L.,  right  arm  extended 


32  The  Steel  King. 

toward  MOTHER  G.  warding  off  blow.  GREEN  down  R.  C.face 
turned  R.,  left  arm  employed  in  warding  off  blow.  MAUD 
slightly  back  of  GREEN,  hands  clasped,  eyes  looking  upward,  lips 
moving  as  in  prayer.  DIMPLE  falls  to  knees,  clasps  MAUD'S 
skirts,  screaming.  HENRY  slightly  back  of  REBER,  brows  con- 
tracted, eyes  riveted  upon  MOTHER  GRUNDY.  BILL  back  of 
HENRY,  turns  L.  and  tries  to  cover  NELLIE  with  coat.  ANDY 
up  L.  C.  yelling  "Murder /"  Features  of  all  express  terror. 
MOTHER  G.  up  C. 

QUICK  DROP, 


• 


ACT  IV. 

SCENE  I. — Corridor  in  REBER'S  house  in  i  G.  Curtain  rises  to 
music.  Enter  GREEN  and  DIMPLE  L.  i  E.  GREEN  has 
hat  in  hand. 

DIMPLE.  My  !  but  didn't  Mr.  Henry  waltz  his  mother  out  of 
the  room  in  a  jiffy  ? 

GREEN  (at  C.).  Yes,  and  made  the  mistake  of  his  life  in  doing 
it.  Had  he  stood  his  ground  and  sought  to  shield  his  mother's 
bomb-throwing  behind  a  plea  of  insanity,  instead  of  running  away 
with  her,  I  believe  all  would  have  ended  well. 

DIMPLE.     Do  you  think  Mr.  Reber  will  have  her  arrested  ? 

GREEN.  That  was  his  intention  in  following  her  out  of  the 
house.  Whether  it  can  be  accomplished  without  the  death  of 
Henry,  Mr.  Reber,  or  both,  is  another  matter. 

DIMPLE  (alarmed}.     Do  you  fear  bloodshed  ? 

GREEN.     I  do  indeed,  and  so  does  Miss  Maud. 

DIMPLE.     Then  that  accounts  for  her  excitement. 

GREEN.  Henry  fairly  idolizes  his  afflicted  mother,  and  I  be- 
lieve will  resist  her  arrest  even  to  yielding  up  his  life  in  her  defense. 

DIMPLE.  I  don't  want  any  funerals  around  here,  yet  I  do  hope 
Mr.  Henry  defeats  Mr.  Reber's  purpose. 

GREEN.     So  do  I,  dear.     Where  is  Miss  Maud  ? 

DIMPLE.     In  her  room  putting  on  her  hat. 

GREEN  (smiling).  As  I  am  about  starting  on  a  perilous  jour- 
ney don't  you  think  your  benediction  ought  to  accompany  me  ? 
(Extends  arms}. 

DIMPLE  (coyly}..    Will  it  be  safe  to  bestow  it  ? 

GREEN.     Nothing  venture,  nothing  win. 

DIMPLE  (hesitating}.  I  would  like  to — I  believe  I  will — (Starts 
for  GREEN,  stops  quickly.)  Hark  !  (Glances  off  L.  then  runs  to 
GREEN,  presses  fingers  upon  lips,  and  toitches  GREEN'S  cheek 
with  them)  There!  Avoids  GREEN'S  attempted  embrace.) 
No,  you  don't,  Miss  Maud  is  coming.  I'm  off  to  look  for  Andy. 
(Exits  quickly  R.  I,  E.) 

GREEN  (crossing  R.)     Confound  it,  just  my  luck  ! 
Enter  MAUD  L.  i.  E.  excited.    Stands  L.  C.  nervously  putting  on 
and  fastening  gloves. 

MAUD.     Has  not  Andy  returned  ? 

GREEN.     No,  but  I'm  expecting  him  every  moment. 

MAUD.     Have  you  mapped  out  a  plan  of  action  ? 

33 


34  The  Steel  King, 

GREEN.  Partly.  Our  actions  will  largely  be  governed  by  cir- 
cumstances. 

MAUD.  Mrs.  Henry's  imprisonment  must  be  prevented  at  all 
hazards,  or  the  poor  woman  will  become  a  raving  maniac  for  life. 
Remember  that  her  safety  is  paramount  to  all  other  considerations, 
and  to  that  end  you  are  to  use  my  fortune — aye,  force,  too,  if 
necessary. 

GREEN.  Your  wishes  shall  be  carried  out  to  the  best  of  my 
ability.  I  have  a  couple  of  strong  cards  up  my  sleeve  to  play 
against  Mr.  Reber's  hand,  and  I  think  they  will  win  the  game  for 
us. 

MAUD.  Why  don't  Andy  come  ?  We  are  losing  valuable 
time,  and  I  fear  we  may  be  too  late  to  accomplish  our  object. 

ANDY,  (loudly  o/"R.).     Clar  out,  I  tell  yo'. 

MAUD.     That's  him,  now. 

ANDY  (o/"R.).     Clar  out.     I'se  no  time  to  answer  poor  white 
trash's  questions. 
Enter  ANDY  R.  i.  E.,  quickly,  hat  in  hand,  followed  by  DIMPLE. 

ANDY  (with  animation}.  De  kerridge  am  at  de  door,  Miss 
Maud,  an'  hitched  to  it  am  two  ob  de  quickest  steppin'  hosses  in 
town.  Dey  will  carry  yo'  'long  de  road  like  a  streak  ob  greased 
lightnin'. 

MAUD.     What  about  Mr.  Reber  and  Henry  ?     Where  are  they  ? 

ANDY.  Mr.  Henry  an'  his  mudder  am'  a-trackin'  it  fur  home 
a-hind  Bill  Sykes'  2  : 40  nag,  an'  Mr.  Reber  an'  two  p'licemen  am 
a-followin'  'em  in  a  coupe.  You  see — (talks  quickly]  jest  as  soon 
as  Mr.  Henry  reached  de  street,  he  grabbed  his  mudder  by  de  arm 
an'  skooted  down  de  street  so  fast  dat  de  old  lady  stood  on  de 
p'ints  ob  her  toes  an*  slid.  Mr,  Reber  he  shot  up  de  street  on  a 
dead  run.  As  luck  would  hab  it,  'long  cum  Bill  Sykes — a  'tic'lar 
friend  ob  Mr.  Henry — drivin'  down  de  street  wid  his  2  : 40  pacer. 
Mr.  Henry  hailed  him,  picked  up  his  mudder  like  as  if  she  wus  a 
fedder,  tosses  her  in  Bill's  buggy,  clum  in  hisself  an*  said  sumfin' 
to  Bill  who  hollered  to  his  mare.  (Enthusiastically^)  Den  yo' 
ought  to  hab  seen  dat  hoss  !  She  lowered  her  belly  within  six 
inches  of  the  cobblestones,  an'  her  legs  flew  all  ober  de  street, 
leabin'  a  streak  ob  fire  a-hind  her.  As  she  turned  de  corner 
at  Main  street  I  seed  Mr.  Reber  cum  polin'  down  de  street  in  a 
coupe,  settin'  'twixt  two  p'licemen.  De  cabby  had  his  nag  a-run- 
nin',  an'  he  wus  lam'bastin'  him  fur  keeps,  but  he'll  nebber  ketch 
de  flyin'  Dutchman,  dis  side 

GREEN.     What  became  of  Anthony  ? 

ANDY.  He's  takin'  his  kid  home.  Den  he  'tends  to  cross  de 
fields  to  Mr.  Henry's  house  an'  help  him  hold  his  fort.  Bill  said 
dis  is  his  funeral,  an'  he'd  be — (Catches  himself.) — dat  no  woman 
corpses  should  take  his  place. 

GREEN.  Good  !  We  may  need  his  services.  (  To  MAUD).  We 
know  how  the  land  lies.  Are  you  ready  ? 


The  Steel  King.  35 

MAUD  (crossing  R.)  Yes.  Offer  our  driver  twenty-five  dollars 
to  get  the  best  speed  out  of  his  horses  possible.  {Exeunt  MAUD 
and  GREEN  R.  I.  E.) 

DIMPLE  (snappishly).  What  do  you  think  of  labor  unions 
now  ?  A  pretty  mess  they  have  gotten  us  into. 

ANDY  (warmly).  Dey  am  all  right.  It's  de  fools  dat  run  dem 
dat  cause  de  trouble.  Widout  dem  de  world  would  be  a  blamed 
sight  worse  off.  De  masses  ob  de  people— de  laborin'  classes— am 
bein'  sat  on.  Dey  am  not  gettin'  fair  play,  by  a  jugful. 

DIMPLE.  They  will  never  improve  their  condition  through 
labor  unions. 

ANDY.     Why  not  ? 

DIMPLE.  Because  they  are  composed  of  men  with  but  one  idea 
— that  of  fighting  capital.  The  principle  is  wrong.  Labor  and 
capital  cannot  afford  to  be  at  loggerheads.  One  is  dependent 
upon  the  other.  There  will  always  be  two  classes  in  this  world, 
Andy,  the  rich  and  the  poor,  in  spite  of  all  you  can  do. 

ANDY.  Yes,  an'  one  is  a-gittin'  richer  all  de  time,  an'  oders 
poorer.  Dat's  not  right. 

DIMPLE.  How  can  it  be  prevented  ?  If  you  take  the  wealth 
away  from  the  class  who  holds  it  to-day  it  will  be  in  the  hands  of 
another  tomorrow.  Until  you  get  every  man,  woman  and  child  in 
this  world  to  love  their  neighbor  as  themselves,  there  will  be  want, 
misery  and  injustice  on  every  side. 

ANDY.  Men  treat  their  hosses,  cattle,  dogs  an'  cats  wid  'sid- 
eration,  why  don't  dey  treat  each  oder  de  same  way  ? 

DIMPLE.  Old  Nick  can  answer  that  better  than  I  can.  If  you 
are  bound  to  become  a  reformer  and  really  want  to  aid  the  labor- 
ing .man.  I'll  tell  you  how  you  can  best  do  it.  Listen  !  Get  him 
to  stop  drinking  whiskey,  supporting  saloons  and  grog  shopkeepers, 
and  give  his  daily  wages  to  his  wife,  mother  or  sister  to  spend  for 
him.  That  will  free  him  quicker  from  the  evils  he  complains  of  than 
all  the  labor  unions  in  Christendom. 

ANDY  (disgusted).  Yes,  an'  land  him  in  petticoat  slabbery ! 
Dar's  mighty  little  difference  'twixt  servin'  de  debble  an'  wimmin 
folks.  Both  make  bad  masters  an'  are  not  to  be  trusted. 

DIMPLE  (arching  eyebrows).     Is  that  a  fact? 

ANDY.  Yes,  it  is,  an'  nobody  knows  it  better  dan  yo'  do. 
Say,  how  do  you  like  de  idea  ob  Brass  Buttons  ridin'  'lone  wid 
Miss  Maud  in  a  kerri^e  ? 

DIMPLE.     Very  much  indeed. 

ANDY.  Yo'  can  bet  when  de  blinds  are  pulled  down  dey  gits 
mighty  conferdential. 

DIMPLE.  Do  you  really  think  so  ?  That  doesn't  worry  me. 
Can't  you  suggest  something  more  interesting  ? 

ANDY  (takes  photo  from  pocket  and  holds  it  at  arm's  length 
in  front  of  DIMPLE).  How  does  dat  strike  yo'  ? 

DIMPLE  (surprised  and  angry).     Where  did  you  get  that  ? 


36  The  Steel  King* 

ANDY  (chuckling}.  Yo'  an'  Brass  Buttons  posed  fur  it.  I'se 
got  a  hundred  an'  twenty-four  more  ob  yo'r  courtin',  hug-me-tight, 
lap-warmin'  and  kissin'  scenes. 

DIMPLE  (trying  to  snatch  photo).     Give  me  that. 

ANDY  (springing  aside}.  No,  yo'  don't.  Some  obde  huggin' 
an'  kissin'  scenes  am  so  nat'ral  an'  fetchin'  dey  make  a  feller  feel 
funny  jest  to  look  at  dem.  (Chuckles.) 

DIMPLE  (uneasy)     What  do  you  intend  doing  with  them  ? 

ANDY  (coolly).  Sellin'  'em.  Dey'll  be  fust-rate  fur  breach  o' 
promise  suits  an'  advertising  purposes.  Picture  man  Black  offered 
twenty-five  dollars  fur  five  ob  de  commonest  ones. 

DIMPLE  (enraged.)  Have  you  been  showing  them  around 
town  ? 

ANDY.  Only  to  a  few  pussonal  friends.  I  'tends  to  show  dem 
to  Brass  Buttons  to-night  an'  tax  him  a  hundred  an'  twenty-five 
dollars  fur  de  whole  kit.  A  man  dats  worth  ten  thousand  dollars, 
an'  can't  'ford  to  pay  dat  sum  to  save  his  own  r'spect  an'  de  gal's 
feelin's  dat  he  'tends  to  marry  next  week 

DIMPLE.     What  do  you  know  about  that  ? 

ANDY.  Heard  ebbery  word  ob  de  compact,  seed  de  afterclap, 
an'  lost  my  breakfast.  I  had  a  picture  ob  de  scene  jest  after  yo' 
says  "yes."  (Feels  in  pocket).  Like  to  see  it  ? 

DIMPLE  (furious).  No,  but  I  would  like  to  see  you  buried 
twenty  feet  deep  in  a  grave,  with  a  forty  ton  stone  on  top  of  you  to 
hold  you  down  ! 

ANDY.  No  doubt  ob  it,  but  I  don't  'tend  to  kick  de  bucket  'fore 
gittin'  my  price  out  ob  Brass  Buttons,  or  you  both  am  made  de 
laughin' stock  ob  de  whole  town.  (Abruptly.)  Say!  yo'll  want 
sum  fixin's  'fore  yo'  changes  yo'  color.  What  do  you  say  to  col- 
lectin'  my  claim  'ginst  Brass  Buttons  an'  pocketin'  twenty-five 
dollars  ? 

DIMPLE  (hotly).  I'll  have  nothing  to  do  with  your  unprincipled 
scheming.  I  hope  Mr.  Green  will  thrash  you  soundly  for  your 
rascally  conduct. 

ANDY.  Dar's  no  danger  ob  dat.  He  am  too  good  a  lawyer  to 
risk  a  five-thousand  dollar  'sault  an'  battery  suit,  an'  de  advertisin' 
dat  would  give  my  pictures,  (Slight  pause.)  So  you  won't  act 
as  a  go-between  ?  (Starts  R.)  Good  day,  den. 

DIMPLE.     What  are  you  going  to  do  ? 

ANDY.  Lock  up  de  house,  an'  see  de  finish  ob  de  Reber- 
Henry  bout, 

DIMPLE.     Then  I'm  going,  too.     (Quickly  exeunt  R.  i.  E.) 

Flats  are  drawn  off  disclosing 

SCENE  2. — Same  as   SCENE  i,  ACT  i.  Door  R.  in  F.  is  thrown 
open  r mealing  HENRY. 

HENRY  (looking  L.  excited).  Step  inside  quickly,  mother. 
We've  not  a  moment  to  lose. 

Enter    MOTHER    GRUNDY  followed  by  HENRY.     Both   are 


The  Steel  King.  37 

intensely  excited.  MOTHER  G.  goes  down  C.,  removes  hood  and 
shawl  and  throws  them  over  back  of  chair.  HENRY  quickly  removes 
hat,  tosses  it  R.  on,  floor,  closes  door  arid  braces  it  with  L.  shoulder. 

HENRY.  Now,  let  the  demons  enter  if  they  dare,  and  I'll  make 
them  pay  dearly  for  their  whistle.  (MOTHER  G.  pulls  up  sleeves, 
runs  up  C.  to  R.  of  HENRY  and  places  hands  upon  door). 

REBER  (rattling  door,  loudly).     Open  the  door. 

HENRY.     Never,  sir. 

REBER.     Force  the  door  in,  then,  officers. 

HENRY.     They'll  do  it  at  the  risk  of  their  lives  ! 

REBER.  Have  no  fear  of  consequences.  Do  your  duty,  men. 
Now,  all  together!  (Door  sways  and  creaks).  It  yielded  an 
inch  that  time.  Now  for  another  effort. 

MOTHER  G.  (frantically).  Don't  you  enter  or  I'll  blow  up 
the  house  ! 

HENRY  (speaks  low,  but  with  intense  power).  Don't  you  dare 
attempt  such  a  thing,  mother  ! 

REBER.  Push,  men,  push  !  Never  let  it  be  said  that  the  com- 
bined strength  of  three  powerful  men  was  inferior  to  that  of  a 
man  and  a  woman.  (Assault  is  renewed  with  fury^  HENRY  and 
MOTHER  G.  resisting  to  their  utmost,  Door  gradually  opens.) 

REBER  (exultantly).     It's  yielding  !     Victory  will  soon  be  ours  ! 

HENRY.  It  will  be  dearly  bought.  Mind  what  I  tell  you. 
(HENRY  and  MOTHER  G.  are  gradually  forced  back  and  officers 
enter.  HENRY  pushes  MOTHER  G.  slightly  R.  and  door  flies  wide 
open.) 

HENRY  (quickly).  Run  for  your  life,  mother !  (MOTHER  G. 
runs  itp  C.  stands  back  of  chair  facing  door.) 

Enter  REBER  quickly,  goes  L.  C. 

REBER  (to  officers).  Seize  that  man  (indicating  HENRY)  and 
handcuff  him  (Officers  start  for  HENRY  who  knocks  down  Num- 
ber i  and  grapples  with  Number  2.  Number  I  springs  to  his 
feet  and  closes  in  with  HENRY,  a  fierce  struggle  ensues). 

REBER   (excitedly).    Secure  him  at  all  hazards  ! 

MOTHER  G.  (screaming).  Help  !  Help  !  Fight  for  your  life, 
Charlie.  I'll  help  you,  my  boy.  (Starts  up  C.) 

REBER  (intercepting  her).  No,  you  won't.  I'll  attend  to  your 
case.  (Engages  MOTHER  G.  in  a  tussle  who  fights  savagely  and 
keeps  REBER  busy.  Officers  force  HENRY  to  knees,  seize  his 
arms,  raise  them  and  try  to  handcuff  him.  MOTHER  G.  notices 
their  action.) 

MOTHER  G.     Help!  Help! 

Enter  BILL  quickly  through  open  door  R.  in  F. 

BILL  (strongly).  It's  here'!  (Seizes  one  officer  and  throws  him 
up  in  L.  corner,  the  other  one  L.  C.) 

MOTHER  G.  (wildly).  Ha— ha— ha!  The  tables  are  turned. 
(REBER  half  turns  R.,  is  startled.  MOTHER  G.  notices  his  ac- 
tion and  with  a  spring  and  a  yell  clutches  him  around  throat  and 


38  The  Steel 


chokes  htm.  HENRY  and  officers  rise.  BILL  retreats  R.  ,  MOTHER 
G.  shakes  REBER  furiously,  who  sinks  to  knees,  appears  stran- 
gling.} Die  J  foul  robber  !  Die  ! 

HENRY  (rushing  C.).  My  God,  mother,  don't  kill  him.  (Fran- 
tically seizes  MOTHER  G's  hands.forces  her  to  release  hold  upon 
REBER'S  neck,  and  pushes  her  down  R.C.  Officer  at  L.  C.  springs  to 
REBER'S  side,  helps  him  to  rise  and  supports  him  while  partially 
recovering.  A  slight  pause. 

REBER  (to  officers,  speaks  with  difficulty).  Arrest  that  hyena 
there  (Indicating  MOTHER  G.  and  HENRY)  and  her  cub. 
(Officers  start  to  cross  R.) 

BILL  (picking  up  chair  and  intercepting  them}.  Attempt  it 
and  I'll  brain  you  both  !  (Officers  hesitate.) 

Enter  GREEN  and  MAUD  excitedly  door  in  F.    Stand  up  C. 

BILL  (strongly  to  officers).  You  are  without  authority  here  — 
out  of  your  jurisdiction  ;  are  nothing  more  than  plain  citizens  in 
the  eye  of  the  law,  and  Henry  would  be  justified  in  killing  you 
were  you  to  attempt  to  carry  out  Mr.  Reber's  commands. 

GREEN.  Anthony  speaks  the  truth.  This  is  Mr.  Henry's  castle, 
and  no  officer  dare  enter  here  except  at  the  risk  of  his  life  without 
a  properly  executed  warrant  of  arrest.  (To  officers.)  You  have 
usurped  your  powers.  There  is  the  door  ;  get  out  at  once  or  I'll 
assist  you  in  leaving.  (Officers  sheepishly  but  quickly  exeunt  door 
in  F.) 

REBER  (angrily).  I  shall  secure  a  warrant  and  have  it  served 
by  a  constable  at  once.  (Starts  up.) 

BILL.  If  you  do,  after  what  that  man  has  done  for  you  (indi- 
cating HENRY)  you'll  deserve  hanging. 

HENRY  (quickly).  One  moment,  Mr.  Reber,  please.  (REBER 
stops)  Let  me  beg  of  you  to  cease  troubling  mother.  She  has 
suffered  too  much  already  at  your  hands,  and  any  further  persecu- 
tion of  her  I  fear  will  cause  me  to  become  a  criminal. 

REBER.  You  talk  in  riddles,  man.  I  never  harmed  your 
mother. 

HENRY  (hotly).  You  are  responsible  for  her  present  wretched 
mental  condition, 

REBER.  Impossible  !  I  never  saw  her  until  she  entered  my 
house  to-day  to  murder  me.  How  could  I  be  guilty  of  what  you 
charge  ? 

HENRY.  Your  treachery,  deceit  (strongly)  aye,  downright  rob- 
bery, caused  it. 

REBER  (angrily.)  That's  strong  language  to  use.  I'll  make  you 
prove  it. 

Enter  ANDY  and  DIMPLE  quietly  door  R.  in  F.  stand  well  up. 

HENRY.  I  will  do  it.  Listen.  At  your  father's  death  it  was 
found  that  every  dollar  that  he  possessed  was  invested  in  farming 
lands.  His  will  directed  that  his  property  be  divided  —  acre  for 
acre  —  between  yourself  and  your  brother's  widow.  As  sole  execu- 


The  Steel  King*  39 

:or  of  your  father's  will  you  appropriated  every  acre  of  known 
value  and  offered  your  brother's  widow  barren  worthless  tracts  of 
land,  rich  only  in  sedge  grass  and  green  briers.  Your  contempt- 
ible action  so  incensed  her  that  she  refused  to  accept  a  foot  of  land 
under  the  will,  and  vowed  her  son  should  not  retain  the  name  you 
had  so  disgraced.  Adopting  that  of  her  foster-brother  she  passed 
completely  out  of  your  life.  What  wounded  her  more  than  any- 
thing else  was  your  demand  that  she  give  up  to  you  the  farm  she 
then  occupied  with  its  sacred  associations,  and  which  had  always 
been  considered  in  the  light  of  a  gift  to  her  husband  by  your  father, 
though  no  deed  had  been  given  for  it.  She  could  not  understand 
your  heartless  motives  then,  but  was  informed  afterward  that  you 
had  been  secretly  advised  that  the  property  held  rich  iron  ore 
deposits.  From  that  tract  of  land,  unjustly  wriing  from  a  widow, 
you  have  amassed  your  present  wealth.  Do  you  deny  these  state- 
ments ? 

REBER  (L.  of  chair  back  of  table).  Who  are  you  ? 
HENRY.  The  son  of  the  widow  you  wronged,  the  only  child 
of  your  brother.  A  Reber  by  birth,  but  a  poor  mechanic  through 
the  avarice  of  an  unprincipled  scoundrel.  {All  are  startled  except 
GREEN  and  MOTHER  G. ,  whose  features  depict  intense  excite" 
merit) 

REBER  {grasping  back  of  chair) .  Can  it  be  possible  ? 
GREEN.     He  speaks  the  truth,  Mr.  Reber.     As  his  attorney  I've 
had  occasion  the  past  week,  in  the  preparation  of  an  action-at-law 
about   to  be   brought  against  you,  to  verify   the   statements  just 
made  you. 

HENRY  (pointing  to  MOTHER  G.).  There  stands  the  widow  of 
your  brother  who  idolized  you  while  living.  Brooding  over  your 
injustice  partially  unbalanced  her  mind  and  wrecked  her  life. 
Look  !  Behold  the  result  of  your  infamous  scheming  !  Now  ask 
yourself  if  your  ill-gotten  wealth  be  worth  the  price  of  that  immor- 
tal soul !  (REBER  looks  at  MOTHER  G.  a  moment,  then  bows  head, 
appears  conscience  smitten.)  If  it  be  true  that  the  spirits  of  our 
departed  ones  hover  over  us  and  are  aware  of  passing  events, 
what  must  be — (brokenly)  the  feelings  of  your  father  and  brother 
as  they  look  down  upon  this  scene.  (Slightly  bows  head.) 

REBER  (as  he  sinks  to  chair).  This  is  a  terrible,  terrible  retri- 
bution !  The  heinousness  of  my  sin  overwhelms  me.  (Bows 
head  upon  table)  In  a  moment  of  temptation  I  lost  all  sense  of 
honor,  betrayed  the  confidence  placed  in  me  by  my  father,  fell  a 
victim  to  the  sordid  lust  of  wealth,  and  wrecked  a  human  life  !  My 
God  !  My  punishment  is  greater  than  I  can  bear!  Have  mercy, 
have  mercy  ! 

MAUD  (goes  down  C.  lays  hand  upon  REBER'S  shoulder,  speaks 
feelingly).  He  will  if  you  prove  your  repentance  by  making  resti- 
tution for  your  sins.  I  have  been  assured  that  such  action  on 
your  part  would  restore  your  sister's  reason.  Is  not  this  the  time  to 
try  it  ?  (GREEN  goes  down  L.  C.) 


4°  The  Steel  King. 

REBER  (rises,  speaks  with  emotion).     Yes,  it  shall  be  done. 
(MOTHER  G.  looks  at  REBER,  features  depicting  intense  excite- 
ment}.  Before  the  day  closes  she  shall  be  in  full  possession  of  the 
old  home  farm  with  its  mines,  and   have  ten-fold   added  to  what 
she  was  entitled  to  at  father's  death. 

MOTHER  G.  (advancing  a  step  towards  REBER.  eagerly}.  Do 
you  mean  that  ?  Will  you  do  it  for  sure  ?  Oh,  don't  trifle  with 
me  ! 

REBER  (elevating  arm}.     As  God  is  my  witness,  I'll  do  it. 

MOTHER  G.  (turning  to  HENRY  joyously}.  Did  you  hear 
that,  Charlie  ?  (Places  hands  upon  head).  The  weight  is  lifting  off, 
my  brain,  light  is  shining  in  where  darkness  reigned  !  Oh,  Charlie 
we'll  be  so  happy !  (Advancing  with  outstretched  arms  springs 
into  CHARLIE'S  embrace,  and  lies  sobbing  upon  his  bosom.} 

HENRY.     God  be  praised  ! 

REBER.  To  you,  Charlie,  I'll  hand  over  my  mills  with  suffi- 
cient funds  to  start  them  up  to-morrow,  upon  a  co-operative  or 
any  other  plan  you  and  your  men  may  agree  upon. 

HENRY  (quickly}.  How  about  Anthony  and  the  other  men 
who  attacked  you  ? 

REBER,  They  are  forgiven,  and  need  fear  no  harm  from  me, 
(Extending  arms  and  looking  upward.)  Now,  may  I  hope  for 
Thy  forgiveness?  REBER  C.  , HENRY  and  MOTHER  G.  R.  of  C.  , 
MAUD  slightly  to  R,  of  REBER,  GREEN  L.  C. ,  DIMPLE  up  L,  C. , 
ANDY  up  C. ,  BILL  up  R.  C. 

QUICK  DROP. 

If  preferred,  the  following  ending  may  be  used. 

HENRY  (qiiickly).  How  about  Anthony  and  the  other  men  who 
attacked  you  ? 

REBER.  They  are  forgiven,  and  need  fear  no  harm  from  me. 
( A  hum  of  excited  voices  momentarily  becoming  louder  and 
nearer  heard  ojfl^.  and\^.  U.  E.) 

REBER  (terrified).  Hark  !  What  mean  those  sounds  ?  Mob  law 
again  !  (Sounds  of  men  running  and  voices  heard :  "  Succor  for 
HENRY  !  "  "  The  Union  forester  !  "  "Death  to  the  Steel  King" 
repeating  over  and  over,  ever  nearer,  until  the  sounds  become  a 
mighty  roar,  REBER  faces  door  in  F.  All  gather  around  him 
forming  a  half -circle  facing  up.  MAUD  and  MOTHER  G.  front 
of  REBER  ;  GREEN,  DIMPLE  and  ANDY  front  of  MAUD,  and 
MOTHER  G,  HENRY  and  BILL  in  front  of  them  with  chairs  in 
their  hands} 

Enter  men  excitedly  door  R.  in  F.  jostling  each  other  and  yell- 
ing frantically  \  "  There  he  is"  ^  Mob  him"  "  He  s  good  for  a 
swing  this  time" etc.,  etc.  ,  Men  rush  down  C.  BILL  and  HENRY 
raise  chairs  aloft, 

BILL  (defiantly}.  Back  with  you,  boys,  back  !  (Leaders  recoil 
up  L.  Space  between  BILL  and  door  is  quickly  filled  with  yelling. 


The  Steel  King,  41 

excited  men  armed  with  ropes,  clubs,  and  all  sorts  of  implements 
as  though  caught  up  on  the  spur  of  the  moment.  Have  sufficient 
men  to  fill  stage  and  block  doorway.} 

BILL  (mounting  chair).  Don't  a  mother's  son  of  you  lay  a 
hand  on  Mr.  Reber.  He's  surrendered!  (Thrillingly}.  Handed 
his  mills  over  to  Henry  and  they  start  up  to-morrow,  full  blast, 
boys  \  Three  cheers  for  the  Steel  King,  and  a  tiger  for  Henry  and 
his  mother  !  Hip,  hip — (Cheers  are  heartily  giveti  with  demonstra- 
tions of  great  joy} 

QUICK  DROP. 
CURTAIN. 


NEW  PLAYS. 

^ 

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act,  by  THOS.  BARNES.  5  male  characters.  The  scene  is  laid  in  a  grocery-store. 
Full  of  jokes,  and  abounding  in  comic  "business."  The  grocer,  a  tough  customer,  a 
deacon  with  a  weakness  for  "craps,"  a  crank  with  patents  on  the  brain,  and  a  fat 
policeman  keep  up  a  succession  of  laughs  that  end  in  an  explosion  which  will  make 
the  audience  ache.  Specialties  can  be  introduced.  The  piece  will  run  30  minutes  if 
played  "  straight." 

THE  GYPSY  QUEEN.  25  cents.  A  drama  in  4  acts,  by  HORACK  C. 
DA:  E.  5  male,  3  female  characters,  with  non-speaking  parts  to  represent  Gypsies  and 
picnickers.  Runs  z\&  hours.  In  its  romantic  interest  and  simple  yet  effective  scope 
for  pretty  stage  pictures,  this  play  is  comparable  to  the  same  author's  "  Imogene  •  or, 
the  Witch's  Secret,"  which  has  proved  conspicuously  successful.  Leading  woman  and 
man  are  the  principal  parts.  There  is  an  excellent  light  comedy  (male),  a  good  in- 
ge"nue  to  work  with  the  light  comedy,  a  dude  comedy  part,  and  a  comedy  parson  who 
looks  like  a  cowboy  evangelist.  The  villain  and  Gypsy  woman  will  give  fine  chances 
for  effective  emotional  acting.  Besides  a  compact,  dramatic  plot  and  picturesque 
atmosphere,  the  piece  possesses  a  number  of  sensational  scenic  effects  that  are  entirely 
new.  With  its  abundance  of  bright  comedy  stirring  incidents,  and  realistic  situations, 
this  play  will  appeal  strongly  to  the  popular  taste.  It  is  within  the  range  of  ordinary 
dramatic  clubs,  and  can  be  ^taeed  in  any  hall 

MEN,  PLAIDS  AND  MATCHMAKERS,   is  cents.   A  society 

comedy  in  3  acts,  by  E.  M.  CRANE  4  male.  4  female  characters.  Costumes  of  the 
day.  One  interior  scene.  Time  of  playing,  2  hours  Sparkles  with  wit  and  interest — 
also  with  human  nature.  Some  bachelor-girls  keep  bachelors'  hall  in  a  New  York 
apartment-  some  bachelors  of  the  other  sex  appear  on  the  scene  :  some  matchmakers 
settle  the  whole  business.  True  comedy,  without  any  love-making  :  novel  and  clever 
situations;  sprightly  dialogue  •  characters  all  "  stars  '' :  act  endings  snappy  and  sur- 
prising. The  plot  hinges  on  a  well-played  practical  joke.  The  audience,  waiting  to 
learn  what  will  happen  next,  is  kept  in  suspense  till  the  end.  The  piece  is  of  the  same 
grade  as  the  same  author's  "Just  for  Fun,15  is  staged  with  equal  ease,  and  is  recom- 
mended to  the  great  number  of  clubs  that  have  already  produced  the  latter  play. 


Roorback's  Descriptive  Catalogue*  43 

HORACE  C.  DALE'S  PLAYS 

^*       ^w       t£w 

Each  of  these  plays  has  achieved  a  pronounced  success.  They  are  all  specially 
suitable  for  amateur  production,  and  they  have  all  been  produced  by  amateurs  through- 
out the  United  States.  Some  of  them  do  not  read  well — very  many  good  acting  plays 
do  not — but  they  are  all  thoroughly  well-built,  and  they  invariably  act  well.  Dramat- 
ic clubs  can  do  no  better  than  to  produce  all  of  them,  from  time  to  time,  using  other 
plays  by  other  authors  between  times.  Detailed  descriptions  will  be  found  in  appro- 
priate alphabetical  order  in  the  body  of  this  catalogue. 


BREAKING  HIS  BONDS.  (25  cents.)  A  comedy-drama  in  4  acts.  6 
male,  3  female  characters. 

41  We  had  a  full  house  each  night,  and  the  audiences  were  highly  pleased.  We 
consider  it  among  the  best  plays  we  have  given." — F.  E.  KENNEDY  (111.). 

"Both  actors  and  audience  were  delighted  with  BREAKING  His  BONDS.  We 
think  it  is  fine" — W.  R.  STEBBINS  (Mo.). 

44  The  house  was  crowded,  and  all  the  opinions  were  favorable.  As  far  as  the 
enjoyment  of  the  audience  was  concerned,  the  play  succeeded  well" — C.  A.  ANDER- 
SON (Va.). 

THE  DEACON.  (25  cents.)  A  comedy-drama  in  5  acts.  6  male,  6  female 
characters. 

44  We  met  with  unprecedented  success.  We  played  it  the  second  night,  by  special 
request,  to  a  large  house." — J.  W.  CULTON  (Mo.). 

'*  THE  DEACON  was  a  perfect  success,  both  socially  and  financially.  It  gave  the 
best  of  satisfaction,  and  drew  full  houses  two  evenings." — J.  G.  HOXIE  (Conn.). 

44  We  produced  THE  DEACON  to  the  largest  audience  that  was  ever  in  the  opera 
house  here*  and  everybody  spoke  a  good  word  for  it.  It  is  a  SPLENDID  play.  I  recom- 
mend it  highly '.'' '— L.  G.  VAUGHN  (111.). 

THE  DEACON'S  TRIBULATIONS.  (15  cents.)  A  comedy-drama 
in  4  acts.  8  male,  4  female  characters. 

44  //  was  an  unparalleled  su/rcess.  PETE  was  funnier  than  ever,  and  the  much- 
tnarried  DEACON  simply  brought  doiun  the  house.  People  laughed  till  they  cried. 
The  play  scored  a  hit  that  will  be  hard  to  equal  in  the  future." — A.  A.  MURPHREE 
(Florida). 

tv  Had  a  big  house,  and  made  a  big  hit.  The  play  is  one  of  the  best,  full  of  good 
comedy  and  well  adapted  to  amateurs.  Played  it  also  in  surrounding  towns.  £vc-ry- 
body pleased:'— -W.  H.  GABBERT  (Mo.). 

*'  The  audience  was  delighted  with  it." — LEON  A.  DAVIS  (Delaware). 

* 

THE  GYPSY  QUEEN  (New).  (25  cents.)  A  drama  in  4  acts,  by 
HORACE  C.  DALE.  5  male,  3  female  characters,  with  non-speaking  parts  to  represent 
Gypsies  and  picnickers.  Runs  2^  hours.  In  its  romantic  interest  and  simple  yet 


edy  parson  who  looks  like  a  cowboy  evangelist.  The  villain  and  Gypsy  woman  will 
give  fine  chances  for  effective  emotional  acting.  Besides  a  compact,  dramatic  plot  ai  d 
picturesque  atmosphere,  the  piece  possesses  a  number  of  sensational  scenic  effects  tb.nt 
are  entirely  new.  With  its  abundance  of  bright  comedy,  stirring  incidents,  and  real- 
istic situations,  this  play  will  appeal  stronely  to  the  popular  taste.  It  is  within  the 
range  of  ordinary  dramatic  clubs,  and  can  be  staged  in  any  hall. 


I 


Dramas  and  Comedies 


(  >  (AT   25    CENTS    EACH.)  M.  F. 

<  I     Breaking  His  Bonds.    Strong  Drama  with  comic  underplay  ;  4  acts ; 

2  hours <> 6    3 

(       The  Jail  Bird.    Drama  of  city  life,  containing  a  vivid  plot  widi  well 

*  I  diversified  interest ;  5  acts  ;  2/4  hours 63 

Golden  Gulch  ("The   Government   Scout").     Drama  that    combines 

i  '  fun,  sentiment  and  exciting  situations ;  3  acts;  2%  hours sx    3 

I  I    The  Man  from  Maine.    Comedy-drama  with  a  wide-awake  hero  from 

"down  East  ";  £  acts;  2^  hours.... , 9    3 

f    Shaun  Aroon.    Stirring  Drama  of  Home  Life  in  Ireland;  3  acts;  2 

A  hours 7    3 

"  The  Deacon."    Comedy-drama  that  is  simply  immense ;   old-man 

w  leading  character ;  5  acts ;  2^  hours 6    6 

A    What's  Next  ?    Farce-comedy ;  3  acts ;  plays  150  minutes  ;  raises  150 

laughs (. 7    4 

(  '     The  New  Partner.    Comedy-drama  ;  strong  plot,  moving  episodes  and 

t  I  roaring  comedy ;  3  acts  j  2%  hours 8    4 

Josiah's  Courtship.      Farcical  Comedy-Drama;    uproarious  comedy 
(  '            features  alternate  with  forceful,  but  not  h^avy,  pathos ;  4  acts  ; 
,      _     2  hours 7    4 

Erin  Go  Bragh.    An  up-to-date  Irish  Drama  in  3  acts ;  plays  2  hours ; 
(»  both  serious  and  comic  in  scope ;  not  sensational 5    4 

Plays  for  Female  Characters  Only 

(15    CENTS    EACH.)  M.F. 

Who's  to  Inherit?    I  act ;  brisk  and  comic ,* o 

Mrs.  Willis'  Will,     tact;  neat,  funny  and  bright 5 

My  Aunt's  Heiress.    I  act ;  has  a  "  Cinderella  "  plot n 

The  "  Sweet "  Family.    Musical,  wise  and  otherwise ;   will  make  a 

mummy  laugh.... 8     ( 

A  Lesson  in  Elegance  ("  The  Glass  of  Fashion  ")•    Society  comedy  (  I 

i  act 4     ' 

Murder  Will  Out.    xact;  humorous,  with  a  moral o     (  ' 

A  Slight  Mistake,    i  act;  enforces  a  moral  in  a  comic  way 5     <  \ 

Fast  Friends,    x  act ;  society  quarrel  and  reconciliation 2 

A  Fair  Encounter,    x  act :  bright,  with  a  diamond-cut-diamond  plot, .  2     (  ' 

<> 

Plays  for  Male  Characters  Only        < j 

(15   CENTS   EACH.)                                   M.  F.  <  f 

The  Lost  Heir,     Drama  in  3  acts  ;  excellent  plot  of  unflagging  interest.  10  t  \ 

*'Medica."     Roaring  farce  in  i  act ;  sure  to  please 7  j 

Wanted,  A  Confidential  Clerk.    Farce  in  i  act;  comic  and  spirited...    6  w 

Old  Cronies.    Farce  in  i  act ;  rollicking  fun  all  through 2  *\ 

April  Fools.     Farce  in  i  act ;  brisk,  bright  and  comic 3  j]     ' 

The  Darkey  Wood  Dealer.    Farce  in  i  act;  always  scores  a  success...    ri  ( 

I  I     Mischievous  Bob.    Comic  drama  in  i  act ;  good  moral 6  .> 

The  Wrong  Bottle.    Temperance  sketch  in  i  act 2 

(>     Well  Fixed  for  a  Rainy  Day.    Temperance  Drama  in  i  act 5  (' 

t  )    The  Harvest  Storm.    Drama  in  x  act ;  strong  in  its  interest,  with  a  ,  \ 

comic  underplot 10 

(  '    Furnished  Apartments.    Farce  in  i  act ;  very  laughable  in  its  absurd  \     (  ( 

I            complications 5  ' "     .  > 

The  Widow's  Proposals.    A  "  Widow  Bedott "  farce  in  i  act 3 

m    A  Manager's  Trials.     Farce  in  i  act ;  creates  shouts  of  laughter 9  m 

£    The  Bachelor's  Bedroom  ("Two  in  the  Morning").     Farce  in  i  act  ..  \a  ,,     .| 

The  Dutchman  in  Ireland.    Farce  in  i  act;  good  characters 3 

^     The  Nigger  Night  School       Farce  in  i  act;   a  "screamer"    with  9 

\            specialties 6  A 

A  Holy  Terror^  Farce  intact;  white  or  black  faces;  specialties  can 

^             be  worked  in  ;  uproariously  funny 4  ^ 

J"    DICK  &  FITZGERALD,  Publishers,  18  Ann  St.,  N.  Y.    J| 


i 


14  DAY  USE 

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